Loro Movie Ending Explained (In Detail)

Spoilers Alert:

Paolo Sorrentino, the director of the modern Italian film classic “La Grande Bellezza”, dedicates himself to LORO – THE DECEIVED the media mogul and politician Silvio Berlusconi. We’ll reveal in our review whether it’s worth seeing.

The Plot Summary

Italy, end of the last decade: For the small provincial pimp Sergio Morra (Riccardo Scamarcio) and his accomplice Tamara (Euridice Axen) there is only one dream. They want to make it out of Puglia and make the jump to Rome to emulate Sergio’s idol – Silvio Berlusconi (Toni Servillo). The unscrupulous real estate salesman, crooner, multi-billionaire, media czar, celebrated tribune and powerful politician shows what success stories are possible in Italy if you just try boldly enough. So Sergio comes up with a plan to get into Berlusconi’s orbit. On the way there he meets, among others, the mysterious immigrant Kira (Kasia Smutniak), who has a direct line to Berlusconi; However, Sergio’s charm does not expire as quickly as he would like. But he still has his dozens of legions of prostitutes. Meanwhile, ex-minister Santino Recchia (Fabrizio Bentivoglio) plans to replace Berlusconi as leader of the center-right coalition. However, his scheming attempts are thwarted by Berlusconi’s loyalists. Because Berlusconi’s constant cheerfulness and grinning cheeks exert an immense fascination on those close to him, which ensures great loyalty. A term that is foreign to Berlusconi himself, which is why his wife Veronica (Elena Sofia Ricci) doesn’t speak well to him at the moment…

Movie explanation of the ending

It took a while, but now Paolo Sorrentino is back on home soil: After the Oscar-winning bon vivant drama “La Grande Bellezza – The Great Beauty,” the Italian director first directed a segment of the episodic film “Rio, Eu Te Amo.” “, before he directed the English-language dramedy “Eternal Youth” and then the series “The Young Pope”. With “Loro – The Beguiled,” Sorrentino is finally responsible for his first Italian-language film since 2013. Although: That’s not entirely true. Strictly speaking, these are his first Italian-language films since 2013. In his home country, Sorrentino released “Loro” in two independent acts with a running time of around 100 and 105 minutes respectively – loosely based on Quentin Tarantino’s “Kill Bill” and Lars von Trier’s “Nymp() maniac”. Internationally, “Loro – The Beguiled” will be evaluated as a single film, based on the US cut that was submitted to qualify this epic for the foreign language Oscar. Now about 157 minutes long, “Loro – The Beguiled” is of course no longer quite as excessive as the two-part Italian film. Nevertheless, even in a compact form, Sorrentino’s new directorial work is still a film whose form does justice to its content: “Loro – The Seduced” is thoroughly an Italian answer to Martin Scorsese’s “The Wolf of Wall Street”. Just as Scorsese fully immersed himself in the colorful, wild, greedy activities of the real-life fraudster Jordan Belfort in his mammoth film, Sorrentino here captures the bunga-bunga version of la dolce vita as exemplified by Silvio Berlusconi. And where the tried-and-tested US director of gangster films indulges in loud, coarse excess, Sorrentino, who leans more towards the poetic, prefers elegant excess.

Riccardo Scamarcio in the role of provincial pimp Sergio Morra at one of many lavish parties.

The opening party sequence in “La Grande Bellezza” was something like the vanguard of “Loro – The Seduced”: Sorrentino, who was responsible for the script together with Umberto Contarello, uses Berlusconi bombast film that mixes fact and fiction, just like in the Roof terrace party from “La Grande Bellezza”, a beautiful way to capture unbridled partying. The image is razor sharp. The camera floats smoothly, without any jerking, through an exuberant crowd indulging in alcohol, illegal drugs and music-induced ecstasy. No matter how frenetically the actors and extras may be celebrating, Cristiano Travaglioli’s editing remains level-headed; the series of images does not bombard the audience. Instead, we take part in something like a moving image slide show and can examine and analyze the hustle and bustle from a safe viewing position. Sorrentino peppers “Loro – The Seduced” with a large number of such party scenes, all of which he designs in a varied way. Here there is a less cultivated, more proletarian reminiscence of the opening of “La Grande Bellezza”, including rich night black and equally powerful, golden light sources. There, Italy’s echo of “The Wolf of Wall Street” house party scene, in which Quaaludes are swallowed in slow motion, fills the screen and replaces the bawling frenzy of the Wall Street vultures with an intimately devoured ecstasy high. And so forth…

The party line-up in “Loro – The Seduced” doesn’t become monotonous, even if Sorrentino’s elegant directing style clearly shapes them all. Paradoxically, despite the neatly staged celebration sequences, “Loro – The Beguiled” is a completely confusing film: although Sorrentino creates a distance between his audience and his hedonistic, pleasure-seeking characters, he nevertheless leaves the side effects of drug and power intoxication elsewhere Sift footage. Namely on a structural level: This drama of excess ignores basic script laws and allows characters introduced in detail and plot threads that are suggested to be significant to get lost in the frivolous goings-on. Kira, the mysterious beauty who made it from nothing to (almost) the top and who fell for Sergio? After a few dialogue scenes, the film loses focus on her, only to conclude her story thread sometime in the last quarter on the sidelines of another film party. Sergio, who devotes himself to (at least) the first quarter of the film? As soon as he establishes his contacts with Silvio Berlusconi, he grabs the cinematic spotlight – and once a Berlusconi gets his foot in the door, he doesn’t pull it out again so quickly.

Kasia Smutniak plays Kira, an immigrant who is both beautiful and mysterious.

There is definitely a method to this undisciplined storytelling: “Loro – The Seduced” is (as two text panels at the beginning suggest) not a realistic biopic about the scandalous Italian politician, who, despite all the controversy, is admired by broad masses of people. Nor is it a social study that seeks to explain how someone like Berlusconi came to power. “Loro – The Seduced” is, so to speak, a mood film, a screen excess that draws impressions from Italy’s bunga-bunga circles. It’s also important that we get to know characters in quiet moments of dialogue in the first few minutes, when everything is still going along in a somewhat orderly manner, only to lose sight of them in the hustle and bustle and later only observe what’s going on from a distance has become to them. Sorrentino’s mishmash of “The direction imitates the attitude towards life of the characters” and “We look at everything from a safe, level-headed distance” results in a complex view of precisely this type of people: Sorrentino does not glorify this unbridled libertinage. Ultimately, the film parties are denied a sense of satisfaction. Sorrentino outlines Sergio as a beneficiary. He repeatedly puts his finger in the gaping wound that is Italian television – this would make even those responsible for USA afternoon private television blush with shame. And he shows Berlusconi as an absolute joke – a stupid, constantly grinning clown for whom only appearances exist.

And yet Sorrentino manages not to simply portray Mr. Bunga Bunga as a Trump prototype. Unlike the concrete hair dryer wave from the States, Berlusconi can at least do something: he has a smooth voice, which he shows off whenever he ensnares those around him with languid Italian hits. And so often Tonio Servillo (“Il Divo”) Even though he lets out a hollow, honey-cake grin at the camera, even with comedic consequences, he repeatedly finds moments in which he extracts honest feelings from Berlusconi. When, after an argument, he is happy to make his wife happy with a surprise, or when, after several confidants tell him that he has lost his touch, he spontaneously makes a sales phone call just to see if he still has it has on it. This minute-long scene has its own dramaturgical arc and is at least ambiguous, since Berlusconi is lying to a woman, but at the same time Sorrentino stages it as a moment of character development and therefore a win. Such scenes, in which the superficial inventory of characters tears cracks in its oh-so-flawless surface as part of a torrent of speech, enrich Sorrentino’s rush of images and music immensely, even if they ultimately portray this mammoth film as a turbulent mishmash of drama, satire and slice-of-life. Make it look like a party life movie. Thanks to the editing work by Cristiano Travaglioli, who gives the action an organic rhythm despite his idiosyncratic narrative, “Loro – The Seduced” gains such a strong pull that the tonal unevenness is no longer noticeable. So is Sorrentino covering up the flaws in his script? Or is it a cinematic trick that underlines on a meta level what Film-Berlusconi demonstrates: it is not the content but the tone that the masses pay attention to?

Toni Servillo and Elena Sofia Ricci as Silvio Berlusconi and his loving wife Veronica.

Either way: the eternal stop and go only becomes tiring shortly before the end, when everything has been said about Berlusconi, Sergio and the youth who see through the hedonistic old people; Sorrentino still strives for a sensitive, dramatic ending. Conceptually, it makes sense to ultimately pull the rug out from under the power- and fun-hungry intoxication, but it would probably have more effect if this were implemented quickly and harshly. This means that the return to reality would have as much punch as the party passages – that’s how “Loro – The Seduced” babbles out, and the realization that frivolity alone can’t win takes the form of a casual thought. Even Servillos Berlusconi loses his grin.

Conclusion: “The Wolf of Wall Street” in Italian: “La Grande Bellezza” director Paolo Sorrentino tells a semi-fictional story of pure excess, but gives it a dignified galence, completely contrasted with the central figure Silvio “Bunga Bunga” Berlusconi.

“Loro – The Beguiled” can be seen in selected USA cinemas from November 15th.

Leave a Comment

Your email address will not be published. Required fields are marked *

Scroll to Top