1950年、南イタリア・ナポリで生まれた赤ん坊は、人魚の名でナポリの街を意味する“パルテノペ”と名付けられた。美しく聡明なパルテノペは、兄・ライモンドと深い絆で結ばれていた。年齢と出会いを重ねるにつれ、美しく変貌を遂げてゆくパルテノペ。だが彼女の輝きが増すほど、対照的に兄の孤独は暴かれていく。そしてあの夏、兄は自ら死を選んだ…。彼女に幸せをもたらしていた＜美＞が、愛する人々に悲劇を招く刃と変わる。それでも人生を歩み続けるパルテノペが果てなき愛と自由の探求の先に辿り着いたのは――。
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製作費: $32,000,000 (48億円)
興行収入: $10,361,110 (16億円)
推定収支: $-21,638,890 (-32億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: パオロ・ソレンティーノ
脚本: パオロ・ソレンティーノ
音楽: Lele Marchitelli
制作: Ardavan Safaee / Anthony Vaccarello / パオロ・ソレンティーノ
撮影監督: Daria D'Antonio
制作会社: The Apartment Pictures / Pathé / Numero10 / Saint Laurent Productions / PiperFilm / Logical Content Ventures / Saint Laurent
Along the lines of the legendary beauty Aphrodite, “Parthenope” (Celeste Dalla Porta) was born in the sea and grew to become a great temptress to both of her male contemporaries. The first being her obsessed brother “Raimondo” (Daniele Rienzo) and the other her adoring childhood friend “Sandrino” (Dario Aita) whose unrequited love for her drove him to distraction. Not, however, to such distraction as that of her sibling, It’s when the trio decide to head for an unfunded trip from their home in Naples to the nearby island of Capri that she meets elderly American writer/dipso “Cheever” (Gary Oldman) who finds her intriguing but appears to have a certain immunity to her charms and she’s not used to that. Whilst on this carefree trip there befalls a tragic realisation that causes all of them to appreciate the stark realities and fickle shallowness of their lives and brings into focus senses of grief, rejection and emptiness. It’s a beautifully photographed piece of cinema, this film, with sparing dialogue and a sexually, but not explicitly so, charged chemistry abundant throughout this rather visually extravagant but disappointingly soulless drama. It is a bit like a postcard upon which is a beautiful picture but just too few words to develop the characters or to quite put enough meat on their perfectly formed bones. Indeed as the second hour starts to drag, the whole thing begins to look more like a repetitively self-indulgent vanity exercise that might be rooted in mythology but that struggles to engage beyond the superficial. It’s classy and stylish and well worth a look - but look appears to be all Paolo Sorrentino wants us to do.
