The Great Beauty Of Aristotle And Aquinas

Aristotle

Aquinas

Federico Fellini was Aristotle, and Paolo Sorrentino is his Thomas Aquinas.

Whereas Fellini posed the existential questions of the time and created the visual language to speak of them, Sorrentino has supplied the great answers.

Even such seemingly unimportant things as small people: Fellini used small people, but they seemed to be unexpected and exciting imagery, whereas Sorrentino cast a small lady in the role of editor; she is older, she has had a definite long career, and we have a good idea of who she is.
That which was partially put forward was now fulfilled.

And Fellini's final scenes at the launch pad of the space rocket has a strident female laughing that Fellini's main character has nothing to say! Sorrentino ends with Sister Maria, and Sorrentino's main character says that much of his life as a writer in Rome was just blah-blah-blah-blah.
Sorrentino's character, Jeb Gambardella, has nothing to say, and he knows it. And he knows that it is a existential fact of most of the people he knows, and those that he even does not.
Sister Maria it is who took a vow of poverty, and thus refused to be interviewed, because, as she said, one lives poverty; one does not talk about it.

The great questions were defined by Fellini, and they have received a great answer by Sorrentino.

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