Director Paolo Sorrentino works with a broad, operatic flair enhanced by brilliant imagery, mixing factual summaries of the charges of which Andreotti was ultimately acquitted with shocking scenes of killings that took place in the period under inspection, starting in the 1970s. While giving the impression of a documentary at times, the film is also a wild ride of elaborate fictionalization, including an imaginary scene of Andreotti making a confession. There are also intensely personal moments between him and his wife depicted, as well as the interjection of a mysterious woman who visits Andreotti, but whose connection is never defined, made all the more intriguing because the role is played by the fascinating French actress Fanny Ardant.

American audiences unfamiliar with the intricacies of the Italian political scene should not be put off by that handicap. One may not get everything, but the film is such a work of art on an ambitious scale that it is worth seeing merely to keep abreast of contemporary Italian cinema. “Il Divo” has its artistic rewards apart from the questions it raises.

One of the key events was the kidnapping and killing of former Prime Miniser Aldo Moro, with accusations against Andreotti for failing to save his life. How much of the maligning of Andreotti is true? A viewer of the film cannot be expected to know, and some of the film could be downright irresponsible given the fact that the legal cases against him were ultimately rejected. But what a story this all makes, especially since it is presented in such a talented manner. Andreotti, labeled with a plethora of derogatory nicknames, is 90 years old now with a title of senator for life.