Loro 1

The number of hot topless partying women snorting coke skewed to the first reel. When I squirm in my seat since I have to figure out how my fiancee is enjoying the movie, I prefer even distribution of such erotic images. Defenders would say that all of the debaucheries was meant to set the tone for the life of Silvio Berlusconi, the media tycoon who after serving as Italy's prime minister is the longest-serving post-war head of government. I am no expert of Italian politics but this movie did not leave me feeling like I understand the Roman modern-day political world any more than I did last week.

Politics is entertainment now. Just one long performance. Witness Silvio Berlusconi who foreshadows the rise of Trump (the two are remarkably similar). Loro satirizes Berlusconi as he starts to lose his grip on power about ten years ago. Under Berlusconi the route to influence and authority is not through enlightenment or better ways of doing business, but trafficking young women, reality shows, lavish parties, yachts and cocaine.

Loro doesn't just take a dim view of Berlusconi, it provides a realistic portrayal of the man. We see the charming salesman who understands human nature and capitalizes on this knowledge. Truth is in tone of voice. "I don't know," says Berlusconi "I understand." Toni Servillo's brilliant performance as Berlusconi heightens this effect. The average Italian, Berlusconi maintains, has the intelligence of second grader. Altruism is the best way to be selfish, for in this way he appears to be good. The ultimate judgement is left to Berlusconi's wife Veronica. "You had the opportunity to help Italy and its people," she says "but you helped yourself instead."

Besides Veronica, there are intriguing portraits of other characters in Berlusconi's orbit. One of them is a very successful, intelligent and beguiling escort. "Girls like me," she says "are stupid when we dream."

Loro provides a fascinating, raw, imaginative and frightening look into the realities of modern politics from the uniquely in-your-face Italian vantage point. It is as wacky as it is cerebral. The film is fast paced and jarring in a good way. Seat shaking base music, rapid dialogue, incredible island villas, stylish clothes, impressive machinery and eye-popping nudity kept me on the edge of my seat. Loro is disjointed at times because there is so much going on, but the general effect is pleasing. The ending of the film is totally unique and perfect for the subject matter; what is important hopefully survives the disaster of modern politics. Knowledge and interest in Italian politics is recommended. Seen at the 2018 Toronto International Film Festival.

Why? Because you can quibble with this and with that. But this is a first class film and it must not go unseen.

Loro 1, directed by Paolo Sorrentino, is an ambitious yet disjointed exploration of power, decadence, and the enigmatic figure of Silvio Berlusconi. The first installment of a two-part saga, the film focuses on the world surrounding Berlusconi rather than the man himself, attempting to weave a narrative of ambition, excess, and moral decline.

Toni Servillo delivers a performance that captures the magnetism and contradictions of Berlusconi, though his character remains more a symbol than a fully fleshed-out individual in this chapter. Riccardo Scamarcio brings energy as Sergio Morra, a character emblematic of opportunism and corruption. While the cast is strong, their roles often feel more like caricatures, serving the film's aesthetic rather than its narrative depth.

Sorrentino's signature visual flair is evident throughout, with opulent set pieces and stylized sequences that create a surreal, almost dreamlike atmosphere. The cinematography and production design are undeniably striking, but the emphasis on style often overshadows substance. The fragmented structure and lack of narrative cohesion make it difficult for the audience to engage fully with the story or its themes.

While Loro 1 attempts to critique power and the corrupting influence of excess, it often feels more like a voyeuristic spectacle than a profound commentary. The film's focus on surface-level decadence leaves little room for deeper emotional or psychological exploration.

Rating: 5/10 - A visually stunning but narratively hollow first act that struggles to find its footing.

SEEN THIS TWO-PARTER AS ONE MOVIE (AS WAS INTENDED FOR INTERNATIONAL RELEASE, I THINK)

This movie establishes a great, great premise. It's about a guy who wants to be recognized by the great Silvio Berlusconi so bad that he would probably be willing to suck some if he had to. He is not the most sympathetic person in the world and has questionable morals, but in the end he is probably only at fault because his mind and principles are set on the wrong goal. But it's not easy, because Berlusconi is an enigma, a man that is hard to reach. This larger than life character of Berlusconi is then slowly established from little word of mouth stories here and there that different characters share in conversations.

Well, after the first 45 minutes the protagonist (?) of the story completely disappears from the movie never to be seen again. And the rest of the film then follows Silvio Berlusconi who just sits at home and bickers with his wife. He's just some old guy. Then the movie ends.

There is also some sort of symbolism with a Jesus on the cross statue at the very end? So does this mean there is some religious meaning behind all this? Who knows.

Besides being mostly boring, the movie also doesn't provide much knowledge or character about the real life Silvio Berlusconi. So really, for me the movie fails both on the entertainment level as far as a good story goes, and then also on educational level.

On the bright side - the talent involved in the making shows.

I'd say give it a pass.