Il Divo (2008)

Last updated:
July 19, 2025

Il Divo, directed by Paolo Sorrentino, is a striking and cerebral biographical drama that explores the life and political legacy of Giulio Andreotti, one of the most enigmatic and powerful figures in Italian political history. The film delves into the dark corridors of power, conspiracy, and moral ambiguity, wrapped in Sorrentino’s unique stylistic flair.

Table of Contents

Detailed Summary

Introduction: Who is Giulio Andreotti?

The film opens by establishing the atmosphere of early 1990s Italy—a nation rife with political scandals, mafia ties, and judicial upheaval. At the center of it all is Giulio Andreotti, portrayed with eerie brilliance by Toni Servillo, a long-serving Christian Democrat and seven-time Prime Minister. He is introduced not just as a man, but as a myth—nicknamed “Il Divo” (The Divine One), revered and feared for his cunning and his supposed involvement in state secrets and mafia dealings.

The Fall of the Christian Democrats

The narrative unfolds during a time when the Christian Democracy party is unraveling under the pressure of corruption scandals and the Tangentopoli (Bribesville) investigations. Andreotti remains eerily calm amidst the chaos, continuing to maneuver like a political chess master. Yet, there is an underlying current of paranoia, both in him and in those around him.

The movie presents a series of real-life events: the assassinations of prominent figures (including journalist Mino Pecorelli and anti-mafia magistrate Giovanni Falcone), Andreotti’s ascent to presidency, and the rumors of his clandestine relationships with the Cosa Nostra. These events are not always presented in chronological order—Sorrentino opts for a nonlinear style that reflects the opaqueness of the man himself.

Andreotti’s Inner Monologue and Confession

Though Andreotti is typically shown as emotionless, withdrawn, and even vampiric in appearance, the film gives us a powerful moment in the form of an extended monologue—a kind of internal confession where he acknowledges the need for power to preserve stability, even if it requires unseemly alliances.

This scene humanizes him without offering exoneration. It’s not so much a confession of guilt as it is a justification of necessary evil—an attempt to present a “higher logic” for morally ambiguous actions.

The Political Trial

The film culminates in Andreotti’s 1995 trial for mafia association. We see prosecutors building their case, citing a disturbing number of assassinations, shady meetings, and indirect links to criminal networks. Yet, Andreotti remains passive, as if untouched by earthly concerns.

Movie Ending

In the final moments, Giulio Andreotti is acquitted, not necessarily because he’s innocent, but because the prosecution fails to provide definitive proof. The court acknowledges that there is “substantial evidence” of his connections with the mafia prior to 1980 but declares the statute of limitations has expired. Thus, Andreotti walks free—not fully exonerated, not entirely condemned.

The last scene is chilling: Andreotti, ever cold and composed, walks into the shadows, leaving viewers with a sense of unresolved justice. There is no redemption, no catharsis—only ambiguity. The film ends not with a bang, but with a whisper, reflecting the nature of Andreotti’s power—silent, calculated, enduring.

Are There Post-Credits Scenes?

No, Il Divo does not include any post-credits scenes. Once the credits roll, the narrative is complete. Given the film’s grounded political tone and historical foundation, it avoids the cinematic convention of post-credit teases or Easter eggs.

Type of Movie

Il Divo is a biographical political drama with heavy doses of satire, thriller, and arthouse aesthetics. It’s not a traditional biopic; it’s stylized, surreal at times, and intellectually demanding, favoring mood and theme over linear storytelling.

Cast

Toni Servillo as Giulio Andreotti
Anna Bonaiuto as Livia Danese (Andreotti’s wife)
Giulio Bosetti as Narrator
Flavio Bucci as Pietro
Giorgio Colangeli as Paolo Cirino Pomicino
Piera Degli Esposti as Vincenza

Film Music and Composer

The eclectic and memorable soundtrack was composed by Teho Teardo, blending classical pieces, electronica, and even post-rock. This musical diversity enhances the film’s surreal and emotionally layered tone. Tracks like “The Rhythm of the Saints” and “Da Da Da” help define character entrances and key moments with theatrical flair.

Filming Locations

Rome serves as the central filming location, shot with an icy grandeur that contrasts the Eternal City’s usual romanticism. Key governmental buildings, deserted piazzas, and dimly lit interiors reflect the movie’s themes of power, secrecy, and isolation. The setting is almost a character itself, contributing to the suffocating sense of political decay.

Awards and Nominations

Cannes Film Festival (2008): Won the Jury Prize
David di Donatello Awards: Won Best Film, Best Director, Best Actor (Toni Servillo), and several technical categories
European Film Awards: Won Best Actor and nominated for Best Director
Academy Awards (2010): Italy’s official submission for Best Foreign Language Film, but it was not shortlisted

Behind the Scenes Insights

Director Paolo Sorrentino conducted extensive research into Italian political history and Andreotti’s personal writings to craft the script.
Toni Servillo worked closely with movement and vocal coaches to perfectly mimic Andreotti’s posture and speech patterns.
The film was edited meticulously to match Sorrentino’s rhythmic style—fast cuts and theatrical camera movements were used to energize otherwise slow scenes.
Giulio Andreotti reportedly saw the film and was not pleased with his depiction.

Inspirations and References

The film is heavily based on real events, particularly the life of Giulio Andreotti and the Tangentopoli corruption scandals of the 1990s. It draws from court records, political memoirs, and investigative journalism. Sorrentino took stylistic inspiration from filmmakers like Stanley Kubrick and Federico Fellini—blending surrealism with political critique.

Alternate Endings and Deleted Scenes

There are no known alternate endings. Some early cuts reportedly included more details about Aldo Moro’s kidnapping, but these were trimmed to keep focus on Andreotti’s psyche and narrative arc. Deleted scenes mostly consisted of extended political dialogues or side character subplots.

Book Adaptations and Differences

Il Divo is not based on a novel, but it is considered a cinematic interpretation of historical and political literature, especially drawing from works about Andreotti’s legal trials and autobiographical accounts. Because of this, the film is more impressionistic than documentary-like—it expresses truth through mood and metaphor rather than factual narration.

Memorable Scenes and Quotes

Key Scenes

The stylized introduction of Andreotti’s political allies with their nicknames and criminal fates.
Andreotti’s internal monologue/confession about power, guilt, and sacrifice.
The scene where Andreotti has a nosebleed before a public appearance, emphasizing his physical and emotional tension.
The final courtroom sequence where he calmly walks away from judgment.

Iconic Quotes

Andreotti: “I have never had any relationship with the Mafia. I’ve always fought the Mafia.”
Narrator: “He does not forget. He waits.”
Andreotti (in monologue): “We must love God so that we can be allowed to sin.”

Easter Eggs and Hidden Details

The use of nicknames for Andreotti’s entourage (“The Shark”, “The Pope”, “The Chin”) mimics the tone of mafia movies, suggesting their moral proximity to crime.
The presence of empty Roman landmarks during political tension scenes implies the collapse of ideals in the capital of Catholicism and democracy.
The film often frames Andreotti like a ghost—he appears in doorways, in shadows, or walking alone—underscoring his spectral role in Italian politics.

Trivia

The real Giulio Andreotti was still alive during the film’s release (he died in 2013).
Toni Servillo shaved part of his head to mimic Andreotti’s distinct balding pattern.
The film’s title font and poster design are inspired by political propaganda posters from the 1970s.
Paolo Sorrentino and Toni Servillo would collaborate again on The Great Beauty (2013), which won the Oscar for Best Foreign Language Film.

Why Watch?

Watch Il Divo if you’re interested in:

Political thrillers based on real events
Stylized direction with intellectual weight
A character study of a powerful yet unknowable public figure
A window into the complexities of post-war Italian politics and corruption

Director’s Other Movies

The Great Beauty (2013)
Youth (2015)
The Consequences of Love (2004)
Loro (2018)
The Hand of God (2021)

Il Divo (2008)