Full Cast & Crew. The great beauty 2013

The Great Beauty (2013) - IMDb

Won 1 Oscar. Another 55 wins & 76 nominations. See more awards » Learn more

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A series of stories following a week in the life of a philandering paparazzo journalist living in Rome.

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Journalist Jep Gambardella has charmed and seduced his way through the lavish nightlife of Rome for decades. Since the legendary success of his one and only novel, he has been a permanent fixture in the city's literary and social circles, but when his sixty-fifth birthday coincides with a shock from the past, Jep finds himself unexpectedly taking stock of his life, turning his cutting wit on himself and his contemporaries, and looking past the extravagant nightclubs, parties, and cafés to find Rome in all its glory: a timeless landscape of absurd, exquisite beauty. Written by Jon Mulvaney

Plot Summary | Plot Synopsis Edit


Release Date:
14 March 2014 (USA) See more »
Also Known As:
The Great Beauty See more » Edit

Box Office

€9,200,000 (estimated)

Opening Weekend:
€2,262,228 (Italy), 27 May 2013, Limited Release

Opening Weekend USA:
$23,442, 15 November 2013, Limited Release

Gross USA:
$2,852,400, 20 April 2014

Cumulative Worldwide Gross:
$23,712,400, 20 April 2014

See more on IMDbPro »

Company Credits

Technical Specs

141 min| 172 min (extended)

Aspect Ratio:
2.35 : 1

See full technical specs » Edit

Did You Know?

During a conversation, Jep says, "Who am I? There is a novel that begins like this." That novel is André Breton's "Nadja" (1928). The central part of the movie, which deals with the relationship between Jep and Ramona, draws extensively from Breton's novel. See more »
Santa: Madam, I took a vow of poverty. And you can't talk about poverty... you have to live it. See more »
References 8½ (1963) See more »
Pancho Written by Julius Steffaro and Jack Trombey See more »

Frequently Asked Questions

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The Great Beauty Movie Review (2013)

It's both frustrating and exciting to see Italian filmmaker Paolo Sorrentino persistently compared to Federico Fellini. The comparison is warranted, to an extent. Like Fellini, Sorrentino ("This Must Be the Place," "The Consequences of Love") has a baroque and immersive style. He also has a carnivalesque/sideshow sense of humor: his new film "The Great Beauty" features, amongst other things, a self-described "dwarf" and a nun with two crooked teeth. Also like Fellini, Sorrentino's fascinated by contemporary society's obsession with looking young and energetic.


"Beauty" can be read as an update of "La Dolce Vita," but while it is definitely Fellini-esque, it's also a crystallization of Sorrentino's own distinctive style. This 43-year-old filmmaker is a major talent. Though he may not be the second coming of Fellini, his films all have a funny, refreshingly complex perspective, and his latest work is a perfect example of why he is the next big Italian thing.

"The Great Beauty" is a character study that presents contemporary Rome through the eyes of Jep Gambardella (the brilliant Toni Servillo), a simultaneously overstimulated and underwhelmed taste-making intellectual. Jep is a writer, though he doesn't really write. His first and only novella disappeared into obscurity. He spends his time performing as a public figure, a fixture of the city. He wants to remain young and important for as long as he can (he's 65), so he uses botox. But he also mocks anyone who makes vague, pseudo-intellectual claims about ethics, art, and staying young.

On a basic level, Jep recognizes in himself everything that's provincial and ugly about Rome. But through bon mots and helpless smirks, he breezes through life, looking for an elusive source of inspiration. He seems to find it in Ramona (Sabrina Ferili), a whip-smart stripper, but their romance is insubstantial. "The Great Beauty" is Jep's show. He's clever enough to know what his problems are, but not ready to solve them yet.

Jep is morbidly self-involved, but Sorrentino excels at subtly navigating the contradictions that either undermine or support his persona. People come and go in Jep's life. They all make him a little wiser, even if they don't realize it. Airhead celebrities talk about Marcel Proust. A lecherous old man hisses, "I want to fuck you" at a bevy of spray-tanned twentysomethings. Then there's Ramona, a woman smart enough to call Jep out when he blames his boredom and writer's block on living in Rome. 

Jep is like Sorrentino's other great protagonists: impotent, charming but smug men who can't bear the thought of starting over. Jep casually boasts about how comfortable he is in his environment, but he also hopes that there's more to life than what he already knows. He grapples with many of the same preoccupations as the heroes of Sorrentino's other films. He is, to use an image from Sorrentino's "One Man Up," a big fish circling his own private fishbowl. His prison is defined by clipped and cutting arguments and visually rapturous tracking shots.


Sorrentino overwhelms viewers with information, but each scene is constructed with such care and attention that it's easy to miss that each new scene elaborates on Jep's latest theory or dilemma. His character arc is engrossing because it's not just full of complex ideas, thanks to Sorrentino and Umberto Contarello's screenplay, but visual beauty as well, courtesy of Luca Bigazzi's cinematography.

More importantly, Servillo, a frequent Sorrentino collaborator and a theatrically-trained actor, makes Jep arresting. He's like an Italian Tom Wolfe. You hang on his every word, even when you're about to hear something gossipy and mean-spirited, because you know it'll probably be true, or at least well-said. A subtle brittleness defines Servillo's performance, and it only comes out when he wants it to. He and Sorrentino are both at their best in "The Great Beauty," making comparisons to Maestro Fellini's work at once inadequate and appropriately grandiose.


The Great Beauty (2013) - Full Cast & Crew

Clorinda Abate ... legal consultant Odette Adamski ... representative: Babe Films Antonella Anselmo ... representative: Indigo Film Rossella Aterrano ... cashier Cristina Aubry ... voice dubbing: Giovanna Vignola Ilaria Avanzi ... representative: Indigo Film Valerio Azzali ... backstage director Benedetta Barroero ... intern Laura Branchini ... representative: Indigo Film Lucile Brum ... representative: Pathé Oriana Buttacavoli ... representative: Babe Films Iaia Calderaro ... legal consultant Sara Calvanico ... representative: Indigo Film Sara Cavagnini ... trainee Paolo Centore ... representative: Indigo Film Alessandra Cevenini ... representative: Indigo Film Savino Cirulli ... coordination: Rome Alessandro Coni ... legal consultant Claudia Contento ... intern Olivier Cottes Poinel ... representative: Pathé Stefano d'Avella ... administrative director Lorenzo De Sanctis ... legal consultant Alessandro Del Vecchio ... production secretary Umberto Dell'Isola ... administration: Pronos 94 Francesca Di Giamberardino ... titles: supervision Valeria Di Graziano ... representative: Indigo Film Lorenzo Distante ... assistant production secretary Caterina Felleca ... administration: Pronos 94 Marco Ferreri ... crowd ad / crowd marshall Clemence Forestier ... representative: Babe Films (as Clémence Forestier) Zoe Giudice ... intern Alix Gugenheim ... representative: Babe Films Gianluca Iodice ... backstage director (as Gianluca Jodice) Isabelle Laratte ... legal consultant: Babe Films Charlotte Laurendeau ... representative: Pathé Lara Lucchetta ... researcher Riccardo Marchegiani ... representative: Babe Films Maria Soledad Marchi ... intern Eleonora Medolla ... trainee Lorenzo Moneta ... titles Daniela Moramarco ... production coordinator Matteo Vito Murro ... titles Samantha Natalucci ... continuity Emanuela Neresine ... administration: Pronos 94 Giulia Odoardi ... intern Stefano Pajetta ... titles Deborah Petrarchi ... additional unit manager Guendalina Ponti ... legal consultant Maurizio Porro ... production secretary Jerico Rinaldi ... caterer Lorenzo Rossi Espagnet ... production secretary Flore Saunois ... trainee Nicola Scamarcio ... assistant production secretary Antonio Silvestro ... administration: Pronos 94 Anna Tramontano ... administration Elena Tramontano ... administration: Pronos 94 Massimiliano Tramontano ... administration Alessandra Troisi ... coordination: Rome Valentina Viscione ... administration: Pronos 94 Andrea Zoso ... production finance


The Great Beauty (2013) - The Great Beauty (2013) - User Reviews

The film begins in Rome at the splashy, bacchanal 65th birthday party of the dapper Jep Gambardella. Calling the event extravagant would be an understatement.

Gambardella is a celebrity socialite. He spends most of his afternoons laying around in a hammock, drinking, staring at the coliseum from his terrace. Killing time until the party-wild evenings. Jep lives a comfortable, carefree, decadent life.

Sometimes he thinks about a coastal summer romance from his youth - shown with Jep laying in bed and watching blue waves move across the ceiling, and also in brief flashbacks.

Forty years ago ago Jep wrote an acclaimed novel, inspired by that intense romance. He has not written a novel since, and now works as a high society journalist. In one scene Jep reviews a performance art show where the artist sprints and head-butts a stone wall.

he glitterati Jep surrounds himself with are the kind of people who wait in line with each other to get Botox injections, as nonchalant as if they're waiting to buy movie tickets. As one woman tells the man injecting her, "Just got back from India. I had amazing dysentery. Come to my divorce party, I'll have burlesque dancers there." When Jep and his friends get together they talk about subjects such as Marxism, collectivism, misanthropy, and defeatism.

Jep refuses to acknowledge any disagreeable aspect of life. At one of his regular dinner parties a friend tries to tell him about her son, who is experiencing mental health issues. Jep immediately dismisses the subject by recommending a psychiatrist, and then starts to talk about the salad.

In one scene Jep shops with his girlfriend for a funeral dress. They are in a patronizing store where the entire selection of dresses, displayed on the walls, can be counted off on your fingers. During this scene Jep explains the rules for how one must conduct themselves at a funeral, which he sees as a social event. The behaviours he describes equate to calculated self promotion.

After Jep's former lover (the one from his youth) passes away, he learns that he was the only person she ever loved. The person who tells Jep this is the woman's husband of thirty five years. He discovered this when going through his wife's journal. The news shocks Jep. Perhaps in spite of this, he considers writing again. He gets into a relationship with a woman. He cries at a funeral (something he previously said to never do.)

So with these changes in Jep's life the director is basically trying to show that Jep is becoming more disillusioned with his frivolous lifestyle? That at the end of the film he is a more rounded person? That instead of numbing himself at endless decadent parties, Jep is forced to confront deeper aspects of life: hurt, love, death? Well, Jep was a despicable person at the start of the film. And in the end he is the same; a narcissistic, flippant man. His friends are shallow, materialistic, and conceited.

At one of his parties Jep tells the person he sits beside that the dance trains at their parties are the best in Rome. The next shot is of Jep drunkenly leading one of the trains. And then Jep is sitting next to his housekeeper, disillusioned, lamenting about how his life is nothing. Well how noble and sincere, you sanctimonious piece of crap.

The film is gorgeously shot, and the music is sublime. The opening scene contains choral music so transcendent it is unearthly. And then we're blasted into an aural storm of ecstatic club beats. And there is also the devastating pastorale composition, combining the music of Arvo Pärt with a choir rendition of Robert Burn's beautiful poem My Heart's in the Highlands, which mourns the narrator's lost youth in the Highlands.

"The Great Beauty" is insipid, meandering, and unnecessarily long. The title is appropriate to the material, as "The Great Beauty" is totally self-righteous. At the heart of this movie (or where a heart should be) is a group of terrible human beings.


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