YOUTH by Paolo Sorrentino

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After the huge success of THE GREAT BEAUTY, PAOLO SORRENTINO returns to the cinema screens with his second English language feature film, YOUTH, which is more driven by concept than character, therefore slightly more demanding but a worthy continuation of the Italian filmmaker's original cinematic identity.

YOUTH marks the second work by SORRENTINO in the English language. The first was THIS MUST BE THE PLACE, recognized as one of the lesser works in the Italian filmmaker's revered career. This this time, there is new life and interest to be found in his works, especially coming hot off the trails of his exceptional Academy Award winning THE GREAT BEAUTY, which was an international success and firmly established him among the hottest names in the global cinematic landscape.

There are many parallels that can be drawn between the two films, some inevitable, others repetitious. One of these that cannot help but be noticed is how once again he finds himself referencing elements that are familiar among cinemphiles all over the world as impressionsitic representations of Italian cinema. Therefore, while THE GREAT BEAUTY could be identified as a direct descendant of FELLINI's LA DOLCE VITA, in YOUTH, we can certainly notice similarities with LUCHINO VISCONTI's DEATH IN VENICE - itself of course based on the famous THOMAS MANN novella, but still very much adapted according to VISCONTI's sensibilities.

This is noticeable in its central narrative, driven by the character of an elderly retired modern classical music composer in an all too peaceful Swiss resort, surrounded by the endless greens of pastures, contemplating upon his life, ridden by guilt and carrying a considerable emotional baggage which he is, nevertheless, able to control in his stoic composure and collected, silent behavour. YOUTH, however, goes beyond that and far from being completely character driven, overflows with ideas in the exploration of the other inhabitants of its luxurious setting - whether it is the composer's daughter and assistant who experiences an emotional trauma through the sudden break up with her husband, his close friend and filmmaker and a group of writers working on what he feels will be his "cinematic testament" and even an initially comedic, then pathetic but ultimately melancholic version of modern day MARADONA.

But despite his essentially marginal nature, the central character in the film is arguably played by PAUL DANO, an acting superstar preparing for what is to be a difficult role. This is because the film is at its core solemn and observant, and DANO's character spends the vast majority of his time on or off screen observing the people around him. He may be the character representing SORRENTINO, quoting artworks but also trying to understand the most earthly and genuine of human emotions, in the attempt of transforming them into something relevant, powerful and overall special. After all, the traits of a stand out, original and thought provoking filmmaker like SORRENTINO is provided by his own interests and sensibilities, and that is exactly what he does in YOUTH, which aims to dig deep in its attempts to discover humanity, in a spiritual but also disarmingly physical sense. In the latter sense, the visual approach does a venerable job.

LUCA BIGAZZI, long time collaborator of the director, returns as DOP and provides the film with many memorable images that are at once meticulous and spontaneous. There are many montage sequences that play with the contrast of YOUTH's aesthetic values, whether they be in the form of the human body and its imperfections, the stunning architecture of the building or the aforementioned vastness of the surrounding landscape. These sequences are poetic and sometimes even ethereal, burrowing an audacity that is more true to visual art than strictly restricted to cinema, but occasionally appear heavy handed and heavily intrusive on the film's pace and rhythm but also not allowing the viewer as much contemplation because of their quickness and quirky self-awareness.

Thankfully, such excesses don't harm the screenplay in a tragically significant way, due to its maturity but also its ability to balance its moments of dramatic clarity with a fresh and witty sense of humour. Furthermore, the film treasures its silence and is schooled by a carefully dosed dialogue, and approach that encourages interaction with its viewers on its various themes, such as those of regret and one's relations with past and present.

But its standard is inevitably elevated by its stellar cast. MICHAEL CAINE's inscrutable performance is exactly what makes him so enigmatic. All the time it is as if he were wearing a mask, a guard he only occasionally lets down, and mostly through his interactions with his filmmaker friend - it is interesting to see their unique and special lengthy conversations begin with thr subject of their pissing habits in their old age, an original testimony to the honesty of true longlasting friendship. On the other hand, KEITEL wears another type of mask, he too seems to be keen on hiding the emotional baggage he has, but is somewhat less successful and more histrionic, much more accessible than the other.

It is also interesting to note that the two, or three if we consider PAUL DANO's actor, are involved in the creative and performing arts, and all three come across as generally unhappy or frustrated. This feels like a pet concern of SORRENTINO, echoed throughout his works, much like the central writer in THE GREAT BEAUTY, who distracted by the image he so carefully aimed to project, forgot to nurture his own talents and found himself less and less able to control the force and strengths of his regrets.

There may just be a little too much in the mix of YOUTH, which a times lacks the focus and solemnity of THE GREAT BEAUTY. Nevertheless, it remains a film of great interest, a fascinating scope that is distinctive of its director's unique brand of cinema. There is an air of timelessness about it, that is equally reflected by its soundtrack, where disco music and church choir experimentations, for instance, blend naturally. In fact, more than timelessness, it is almost as if time were literally stopped, and life in the Swiss resort had become a utopia of sorts, made to re-capture the fleeting utopia of the film's titular subject.

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