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 Movie Review: Bawden and Bearer on Bertolucci

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Rosalind
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Rosalind

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Movie Review: Bawden and Bearer on Bertolucci Vide
PostSubject: Movie Review: Bawden and Bearer on Bertolucci   Movie Review: Bawden and Bearer on Bertolucci EmptySun Dec 06, 2009 11:04 am


Title: IL Conformista (The Conformist)
Rating: 4.5/5
Genre: Political Drama
Starring: Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda
Director: Bernardo Bertolucci
Language: Italian

"Bertolucci" presents us not only with an intellectual triumph, but also an artistic triumph. What we shall see here is a film that casts its everlasting influence over films that came and films yet to come. This the story "Clerici" (Trintignant), an Italian with a not so comforting past, enters himself with the Fascist party and is sent to Paris to assassinate his former professor, who is in exile there. This is a study of a man's mentality, coming from a middle-class family with childhood traumas, who joins a group thinking this will help him have a "normal" life. The use of light/shadow is simply great, with a superb collaboration between "Bertollucci" and " Vittorio Storaro"", the cinematographer, we see how the style reflects not only on "Clerici's" abnormal reality, but also on an expressionist point of fascist aesthetics that bestow on " Il Conformista" a truly remarkable look.

The colors "Bertolluci" used are vivid and luminous while being dark and depressing. The scene with the blowing leaves and the use of natural light and color shows how a beautiful image can be presented without the necessity "showing off". The camera moves fluidly, the costume designs are original costumes from the 30s, the car is there, and the characters are there also. But the scene is beautiful. "Bertolluci" has a keen eye for the use of shadow and light. "Clerici" holding his fiancé she's, she's wearing a black and white striped outfit, they are alone in a closed room with thin layers of sun illuminate it a bit, this is presented with one of the best light contrasts I have ever seen. My personal favorite scene presenting this contrast is that when "Plato's Cave" is described and presented. We see how with careful camera movements and light control we are presented a deep matter than reflects on the film's themes and that shall return again to complement the film's motives.

Aside from the stunning visuals, the film is deep with meaning. For those who have no clue what "fascism" or what "Plato's Cave" is, they might have a harder time analyzing the film. We notice the commentary on many subjects from homosexuality to the regime itself. "Clerici" joins and marries, as he confesses to the priest, in order to have a "normal" life. But what is a "normal life"? We see near the end how his views change, which reflects on an inner struggle. "Bertolucci" smartly dealt with that in the script. We see "Clerici" defending the regime yet at the same time having doubts of what's he supposed to do, a mission he volunteered to take. We even see in what deceiving ways the secret police worked to get what they want.

I honestly didn't have an idea at first that "Trintignant" is actually a French actor. The role fits naturally to him. We can notice he was hurt in the past, we can notice he is having a hard time struggling with the decisions he has to make, and we can notice what toll all of what he goes through have on him. "Sandrelli" plays the role of the bourgeois wife. We can honestly see that she loves her husband and we can honestly see that although she seems simple minded, she at the end does show some comprehension of what goes on. "Sanda" plays the role of the professor's wife who then carries on an affair with someone clearly having an opposite ideology than hers. Her role is a vital presentation of the anti-fascist ideology that helps with the film's objectives.

The film's arrangement with using flashbacks to narrate was good, yet at times it did confuse me. I just feel the flow could have been presented better. While as a whole it won't do much harm to us, it will make it harder to follow the events. The film's look is like a beautiful poem, captivating in its look and grace. The imagery was pleasant and haunting at the same time. The scene in the woods was an elegant display of macabre. I have seen "Bertolluci's" work before in "The Last Emperor", as much as it was well done, I find myself attracted to this film more. "Il Conformista" is a brilliant masterpiece that forced its shadow on other classics like "The Godfather" and its sequels. The film should be watched by those who love class in their cinema. While it may be hard to get into at first, we are soon overwhelmed by its elegancy. - D. Bearer






Title: Last Tango in Paris (Ultimo tango a Parigi)
Rating: 4/5
Genre: (Erotic) Romantic Drama
Director: Bernardo Bertolucci
Starring: Marlon Brando, Maria Schneider
Language: French, English

“Even if a husband lives 200 fucking years, he’ll never be able to comprehend his wife’s real nature”

So, another ‘twin’ review I roped D. Bearer into doing, not that the choice of Bertolucci needed much persuading given his well earned status of derision for his very stark, bleak and often excessive approach to his subjects, pushing boundaries beyond far beyond what was commonly thought of as acceptable. It is perhaps upon realising that his desire for authenticity was so great that this eccentric Italian director has resorted to use two non-native languages to suit the piece, choosing the location to ideally suit the romantic theme; this is about as far removed from that cliché romantic drivel that so often plagues us as you could imagine, almost a serious satirical look between the romanticist fantasy and the gritty realism of lust and desire.

Without an ego, he presents a likeable young director within his own film that perhaps is intended to resemble him in his youth, naïvely chasing the young woman, Jeanne (Schneider) in the hopes of sparking the beginning of a blossoming romance, starkly contrasted by her dysfunctional relationship with the middle aged man Paul (Brando). Trapped between the lover that is wrapped in his fantasy of perfection, constantly arriving with a film crew to capture each moment of her that he can; his romantic intentions in practice come as all too clingy and irritating, forcing her back into their secret apartment and into the arms of the unpredictable cynic, using each other in a lust-filled passion that denies them any knowledge of who the other really is.

Despite Brando’s annoying penchant for melodrama, this rarely rears its ugly head, constrained by the character itself, his portrayal of him, slowly releasing clues as to who he is allowing the audience to simultaneously comprehend him without ever being sure where he came from. Improvising much of his dialogue, often refusing to learn his lines (in fact, there is an entire scene where he speaks of his own childhood, and a famously improvised ‘butter’ scene) it is somehow that when he speaks he brings a powerful emotional conviction that means you can’t help but hang on to every word; more than a fleeting interest, you find yourself heavily investing in this dark and mysterious character, adamantly refusing to let people know of his dark depressed past that has robbed him of his energy, the mysterious circumstances surrounding his wife’s death that never gets put into black and white terms. Coupled with this is an excellent performance from Schneider herself, whilst the drab and predictable scenes with her lover could have easily worn thin given much longer, the sheer unpredictability of Brando’s performance improved her own ability to react to his actions, and behave in an all too gritty and realistic manner.

The soundtrack was well utilised despite being highly repetitive, working in such a way to assist the contrast between the two situations and produce a cyclical feel to the proceedings, as she constantly bounced back and forth between them. The cinematography shouldn’t be understated either, making apt use of his surroundings, working well with light and shadow to emphasise each point, display each contour and grey hair of the shadowy figure, the stark contrast of the blood against the excited woman during the early scenes and the atmosphere of the dark and claustrophobic room against the lighter, open expanses of the surrounding city.

The manner they act when alone in this apartment is far more crude than you would expect of such a film; they swear and insult one another and act without repercussions as a result of knowing the nature of their affair, and making conscious effort to not know anything about one another, and it is through this that allows their true self to emerge. Not the past behaviour or memories but the present, and whilst this often results in a freedom to revert to an almost child-like mentality, playing and toying with one another without care, a critical question posed is that of the other side to this blade; that with absolute freedom you are able to see precisely who the other person is, no lies or secrets or hidden thoughts, and this can be a genuinely dangerous thing to come to comprehend. As much as fantasies will never come true, it is perhaps not only beneficial to conceal part of your true nature for the benefit of others, but essential for once you learn what the other is capable of you may never be able to forget it. - T. Bawden


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Dawn Bearer
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Movie Review: Bawden and Bearer on Bertolucci Vide
PostSubject: Re: Movie Review: Bawden and Bearer on Bertolucci   Movie Review: Bawden and Bearer on Bertolucci EmptySun Dec 06, 2009 11:09 am

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