It was the hand of God, Paolo Sorrentino: “My only tutelary deity for this film was Massimo Troisi”

Paolo Sorrentino, Toni Servillo and Filippo Scotti, accompanied by the complete cast of It was the hand of God, presented the Netflix film that will be released in cinemas from November 24th before arriving in the catalog on December 15th.

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It was the hand of God: Toni Servillo, Filippo Scotti and Teresa Saponangelo in a scene from the film

There was an air of great occasions at the Neapolitan presentation of It was the hand of God and it could not be otherwise because the new film directed by Paolo Sorrentino represents a homecoming for the Neapolitan author. “It’s a film that had been on my mind for a long time and I found the courage to make it because the right time had come for unfathomable reasons” he told us in the press conference held in his hometown, “I had turned 50 which is a great achievement, I wanted to make a film in Naples in which the city was also the protagonist.” And he is the protagonist of the film that is in cinemas from November 24th awaiting the release on Netflix from 15 December, as he too is in the first person, for a story in which his own past experiences echo, while telling the story of Fabio through the test of Filippo Scotti.

The Naples of Paolo Sorrentino

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It Was God’s Hand: A sequence from the film

“I liked the idea of ​​making a film in Naples in the summer, it also seemed like a recreation in a period that was difficult for everyone” the director said again talking about the making of the film, but careful to specify how he focused on your Naples, on what had a value for him: “I approached the city on the basis of the places I frequented as a boy. There is my house, one floor below the apartment where I lived, the school and the places that I discovered around 17/18. I was not guided by a idea of ​​Naples, but from my memory, from places that have been fundamental for me based on events that have happened to me. “ A personal approach that is evident by looking at It was the hand of God, which filters Naples according to the story that is carried on.

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It was the hand of God: the complete cast of the film

It is not a postcard Naples that emerges from Sorrentino’s film, but it is a true and authentic Naples even in some of its excesses, also emerged in the conference through a couple of amusing anecdotes that date back to the shooting of Man in Plus. “I am very excited to present the film in Naples” Sorrentino in fact said, “It’s like participating in my wedding. Here the film is understood in all its nuances and it’s not an easy test to face.”

It was the hand of God, the review: Sorrentino’s return to Naples excites and moves

The boredom of pain, the example of the fathers

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It was the hand of God: Paolo Sorrentino on the set

There is pain in the past of Paolo Sorrentino and in the story of Fabio who re-elaborates it in bringing it to the screen. “Always talking about this film has meant that the story of pain has become everyday, even boring” explained the Neapolitan author, adding an interesting reflection: “It’s a beautiful way to overcome your pains, to make them boring. Getting bored is a nice shortcut to not worry about your pains anymore.” However, there is not only suffering in It was the hand of God, but also a process of growth and awareness, also conveyed through the teaching of various father figures. One of these is Fabio’s father, played by Toni Servillo: “Mine is a father who had a tragic ending in Paolo’s life, but we also had a lot of fun telling some fathers who, feeling inadequate for the role, end up being a little nice in their cialtroneria.”

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It was the hand of God: Toni Servillo and Filippo Scotti in a scene from the film

Another of the reference figures is certainly Antonio Capuano, in what “It is the best moment of the film, when it confronts Fabio with a fundamental question”. To a question and the importance of the conflict, as Sorrentino himself recalled: “Having lost a father at sixteen, I will have missed that post-adolescent step that has to do with conflict. I’ve always looked for relationships with people who honestly tell me what they think.” But there is also the example of Maradona in the scene where Fabio and his brother watch him train to throw free kicks_. “The more talented you are” Servillo explained recalling that sequence, “the more you are afraid of exercising your profession. That scene tells how an orphan with his fear discovers his talent.”

It was the hand of God, Paolo Sorrentino: “I believe in a semi-divine power of Maradona”

In the role of Sorrentino

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It was the hand of God: Filippo Scotti in one scene

To give life to the protagonist Fabio we find the young and very good Filippo Scotti, who told how “I tried to forget my admiration for Paolo Sorrentino, when he chose me, because I realized that I could not work.” One thing, however, Sorrentino asked his young interpreter: “He asked me for a truth. On the set we faced the issue of being true, bringing out my truth and then that of the character. This was especially important in a scene like the one with Capuano, in which it was important to become aware of a personal pain and being able to stage it. “

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It was the hand of God: Filippo Scotti and Marlon Joubert in a scene from the film

And to work at his best, Scotti asked the director to also tell him what music he was listening to at that time, while admitting that “there was no music in the walkman” that carries his character. On the other hand, it was Sorrentino himself who explained that “The protagonist listens to music, but he doesn’t hear it. Or he hears it, but he is unable to hear it. That’s why there is very little music, even if I have had to give up a whole series of temptations.” Musical and visual temptations, because it is a drier film than others by the author: “This film owes the films I loved to the director Troisi. My only tutelary deity for this film was him and not Fellini.”

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