This article proposes to read the 2014 Oscar Prize winning film La grande bellezza, by Italian director Paolo Sorrentino, alongside Alberto Moravia’s 1960 novel La noia, taking as a starting point the similarities between the works’ protagonists: Jep Gambardella, an eccentric failed writer, in Sorrentino’s film, and Dino, a painter who quits painting and is involved in a troubled love story, in Moravia’s novel. Both works are homodiegetic narrations of their respective protagonists’ memories; both focus on their artistic failure and psychological distress; both of them connect failure and distress with a desperate love. The anthropological analysis of the film’s plot and its dialogues aims to demonstrate that film and novel alike, show the existential crisis of an individual: in the novel, the protagonist’s crisis is transfigured into the feeling of tedium and deals with the problem of possessing Cecilia’s body; in the film, it is symbolised by the upsetting relationship with beauty and is mediated by the languages of memory, love and the sacred. La grande bellezza may be considered a representation of man’s difficult relationship with reality, in its tautological alternation of beauty and triviality, just as La noia was fifty years earlier.
How to Cite:
della Costa, F.. “La Noia Della Grande Bellezza: Il Film Di Sorrentino Attraverso Il Romanzo Di Moravia”. New Readings, vol. 16, 2016, pp. 42–59. DOI: http://doi.org/10.18573/newreadings.3