Young Pope: Sorrentino TV Series With Jude Law On Intrigue At The Vatican

Young Pope: Sorrentino TV Series With Jude Law On Intrigue At The Vatican
Young Pope: Sorrentino TV Series With Jude Law On Intrigue At The Vatican

Video: Young Pope: Sorrentino TV Series With Jude Law On Intrigue At The Vatican

Video: The New Pope Review \u0026 Analysis | The Young Pope | A Hidden Masterpiece Gem 2022, November
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"Young Pope" series released on HBO - a drama about the newly elected eccentric Pope with Jude Law in the title role. This is the first serial experience for the Italian Paolo Sorrentino, who directed all ten episodes of the first season. Throughout this period, we observe the beginning of the reign of the first American pope, who will be remembered by everyone for a very long time without much effort. Here's why this show is so much more than just a pretty picture.

A man in a snow-white cassock crawls out from under a pile of children. Rises, recovers. The camera changes position, and we see that he finds himself in an empty Piazza San Marco. It is not known what kind of memory the director of the series Paolo Sorrentino has connected with the main square of Venice, but the scene from “Youth”, in which Michael Caine walks down San Marco in a tailcoat to meet Madalina Genea, is remembered by itself.

Sorrentino, even in his television debut, remained true to himself. Otherwise, it would probably be an annoying omission: visually, he, along with Terence Malik and Andrew Dominik, is one of the most recognizable contemporary directors. The series premiered this spring at the Venice Film Festival, which is not yet typical of this kind of work. But Young Pope is a co-production of TV titans like HBO and Canal +, and it needed to be styled accordingly. The guests of the festival agreed that we have a new "House of Cards" in front of us. The association is clear: politics, intrigue, charismatic protagonist. You really expect Jude Law to turn to the camera and make a President Frank Underwood-style line for the audience. This, however, is where the similarities end. For all his charming charm, Low's character Lenny Bellardo keeps his distance not only with the rest of the characters, but also with the viewer.

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The Council of Cardinals chooses a new pope, which becomes Bellardo. After the elections, to the surprise of the Vatican old guard, it turns out that the new pope smokes, quotes Brodsky, ignores the hopes placed on him, and generally behaves extremely independently. Instead of ready-to-work apparatchiks in robes, Lenny calls his sister Mary, a nun who raised him in an orphanage (Diane Keaton), to the Vatican. At the same time, contrary to expectations, he refrains (at least for now) from an affair with the heroine Ludivine Sagnier, the wife of the captain of the Swiss guards. In several violent clashes with opponents, the pope reveals himself as an intellectual with authoritarian manners, and the pontiff's dreams show the viewer his anxious, searching nature.

The TV series market, until recently the fiefdom of American producers, seemed to need a show capable of attracting audiences that would pass by Stranger Things or even Westworld. Putting Sorrentino at the helm of such a project was the obvious choice - which other Europeans have achieved comparable success in the American market in recent years? The Oscar-winning "Great Beauty", which many perceived as a kind of continuation of Fellini's "La Dolce Vita", was executed so flawlessly that the name of Paolo Sorrentino immediately became known not only among the participants and guests of European film festivals.

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For all its merits, this work does not seem to be anything special if you go through the earlier films of the director. For example, "Amazing" is performed in the same visual manner as "Beauty", and "The Consequences of Love" - ​​one of the best studies of the topic of human loneliness - has rightfully collected a lot of European prizes.In the wake of the success of "Great Beauty", "Youth" was also appreciated, in which it was no longer the permanent Sorrentino actor Tony Servillo that shone, but the fantastic duet of Michael Caine and Harvey Keitel.

Around the third episode of "Young Pope", when you come to your senses from the abundance of typical Sorrentino beauty, unhurried camera movement and music, you start looking for a point of danger behind all this. This very point here is the protagonist. For all the time on the screen, he does not have strong rivals - their intrigues are too small and do not give the main character any trouble. But periodically there are flashbacks in which Lenny is looking for his parents and recalls his childhood in an orphanage.

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Somewhere here is buried a whole layer of experiences of an abandoned child who grew up, became the Pope, with the same contempt for those around him, and for the church itself; whose public speeches are full of aggressive, Old Testament obscurantism. How does it all get along in one person? How does he manage, being abandoned by his parents, to grow up to be so narcissistic? How did Diane Keaton's character contribute to this? Why are not only the cardinals but also Sister Mary looking disappointed in Lenny? What is he preparing for others? The development of the show, the expectation of the next episode, which is so important for a serial product, in the case of "Pope" is based not on sudden plot twists, but on what Jude Law's hero does not say about himself in each episode. If we compare with other TV heroes, then a similar trick was once succeeded by Don Draper from Mad Men.

Sorrentino was expected to tell stories of exposing the church or saying about God - instead, he habitually reflects on a person. Let the man this time be the Pope. It seems completely unexpected that Jude Law seems to have played one of his strongest roles here, which is in sharp contrast to the recent rather mediocre "Genius". In The Young Pope, on the other hand, he is revealed in an infinite number of facets. Perhaps this particular series will mark the actor's entry into the era of professional maturity. You start to really be afraid of Lowe's hero, simply because it is human nature to be afraid of what he does not understand - and the Pope in his performance is really a mysterious and scary character. The abyss of his personal hell is so deep that in six episodes it is not even half immersed in it.

Photos: HBO

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