I felt great satisfaction in seeing the new film by Sorrentino, which offers a fascinating and reconstruction of fine brushwork by visionary of cinema, the last period of the career of Giulio Andreotti, by when he received the task of forming his Cabinet until the seventh and last day of the processes that suffered less glorious for the prosecution of the Mafia, the beginning of the new century. The glossary at the beginning of the film, stage and a red dry narrative of what happened in these twenty years, undertaken without leaving hints, make the Work is also particularly attractive to young people who have lived through the era of Andreotti only hearsay. The film, however, focuses mostly on his figure of a man, or rather on the controlled bursts, smiles, love unfulfilled, curious eyes that dart, rare and special, from this great figure of a statesman, including the freezing of his words sharp irony. How does Sorrentino gives us a portrait of a "man", rather than a "political"? Attributed to one of the most powerful of our history, in an indestructible, small weaknesses and turns them into metaphors continue within the film text: Andreotti is plagued by such a continuous headache (as I am sure, the Pontius Pilate of Bulgakov), longs desperately, but unsuccessfully, the return of a drug that can relieve him, the Tedax, but in the absence of this drink continuously aspirin. This happens all the time in which it is a bitter pill to swallow, delete it in his stomach and not let it leak: great scene in which even members of his family, in the bitter days in which there are processes for mafia, sitting at a table dine with one tablet dissolved in water. "We must also do evil, to ensure the good of our people," said Giulio Andreotti in the scene in which she imagines to vent. And it is the only moment of complete weakness, a river in flood, imagined as a monologue from the stage, the spotlight but are not ever embarrass this man of iron. His wife, brilliantly played by Anna Bonaiuto (but certainly not lower the skill of impersonating Sen. Servillo) is the only one who can break through the "prime minister", while all the other people that are around by Cirino Pomicino to Ciarrapico are not that "the manure which trees need to grow." Memorable scenes: the ride with glide Cirino Pomicino, skateboarding in the Transatlantic, the representation of the death of Falcone (the state machine is already destroyed, even before the fall), the kiss Totò Riina, the phone call to his wife from Moscow. I liked to think, going out and talking to Cynthia Odéon, Stephen and Jenny, when I was younger and did not read the newspapers, but I thought I was talking to and slogan, Andreotti was not the charm for me (some even macabre) that this the film gives a full and a bit 'reminds us of the star of another film Sorrentino, the "Consequences of Love".
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