Italian cinema is, at last, on a roll again. Perhaps not in the same way as when Rossellini, Visconti, Fellini and De Sica were batting masterpiece after masterpiece into the arena but maybe more prodigiously than at any time since the young Olmi and young Bertolucci were setting the screen alight. In recent years we have had Michelangelo Frammartino's "Le Quattro Volte", Gianni De Gregorio's sublimely gentle comedies "Mid-August Lunch" and "The Salt of Life" and, perhaps best of all, the films of Paolo Sorrentino whose "The Consequences of Love", "The Family Friend" and "Il Divo" were highly original and sufficiently off-the-wall to invite comparisons with Fellini. His one venture into English-language cinema, "This Must be the Place", met with a largely hostile reception from critics who accused him of being self-indulgent but I found the film to be gorgeous and quirky and just what I would have expected from so idiosyncratic a talent. And now we have "The Great Beauty", a return to Italy and a return to, what his critics might see as, earlier form.

This film, too, has been compared to Fellini which is entirely appropriate as this is a "La Dolce Vita" for the 21st century. You can even imagine the film's central character, Jeb, as Marcello, older if hardly wiser and for Sorrentino nothing much has changed. But if this is Sorrentino in Fellini mode it's just as close to the beauty and spectacle of "Amarcord" or, more appropriately, "Juliet of the Spirits". Once again the lead is taken by Toni Servillo, who was Sorrentino's Andreotti in "Il Divo" and once again he confirms his position as one of the cinema's finest actors, heading a truly superb ensemble cast.

As in "La Dolce Vita" there is no real 'story' but rather a series of episodes in the life of Jeb in the days following his 65th birthday, (his birthday party is the first of the film's many great sequences). If there is a theme it's Jeb's increasing disillusionment with the lifestyle he has associated himself with over the years, a lifestyle he is very reluctant to give up, no matter how pragmatically he views it. He is a man who has had many women but no real relationship to speak of, (the early love of his life married someone else). He meets the daughter of an old friend, a 42 year old stripper with a drug habit, and they strike up a relationship of sorts though when they go to bed together he is happy when they don't have sex. He gets sustenance from his friends although he can be cutting and abrasive in their presence. It seems as it is they, and not money or power, which keeps him going.

This is a magnificent movie, the kind of film that you know is being composed, frame by gorgeous frame, by a master film-maker. It is a breathtaking melange of sound and images, of great performances and superlative dialogue that draws you in and holds you from its first shot to its last. Some directors open their films with great tracking shots but Sorrentino saves his to the end, up, over and under the bridges of the Tiber as the final credits roll. Don't leave the cinema to the very last second.

Jep Gambardella once wrote an award winning novella. He is now an aged socialite writer. After his lavish 65th birthday party, he starts to reflect on his life and taking stock of his future. He meets various people in his life. He wonders if he should write another novel. A friend asks him to find a husband for his 40 year old stripper daughter Romona.

This is no doubt that this is beautifully shot. The characters live in such a pretentious world that it comes off somewhat surreal. At some point, I rather not spend any more time with these people. These people are cold and eat at my nerves. There is one good laugh early on. That young girl who is forced to paint for her parents is the most compelling scene. It says so much that there are so few kids in the movie and she doesn't even want to be in their world. This is an old, tired and pretentious Rome. That may be the point but it's not fun to watch.

This is one of the most visually remarkable films I've ever seen. It captures the spirit and beauty of Rome. The camera delves into corners and crevices of the night life and the daytime of this eternal city. This is the story of a man who has debauched his way through life. At sixty-five, he begins to wonder what happened. He is highly respected for his single book (he never wrote another) and has casual friends who are more users than true companions. He hearkens back to a relationship he had earlier, where a woman he could have had, instead ends up with a close friend, who, it turns out, never made her happy. The actions of the characters are vacuous and relatively feckless. He encounters artists who are mostly show and little substance. We see self-indulgent women wasting their lives. This is certainly more about the journey than the result. The people who are most solid in this man's life are the one's he takes for granted. Death seems to be around the corner and what do we do until that happens? Does it make any difference what we do? The beauty here is all around, but is wasted on most of these people.