We saw through the RAI International signal 2009, for the award of Mostra Venice Film Festival.
Bertolucci approached the stage with difficulty, using a walker. Perhaps affected by phlebitis, perhaps, rehabbing a strained lower back. We never knew for sure what was disease affecting Bernardo Bertolucci. The truth is that the director of Last Tango in Paris looked old-looking at that time. And we noted, with its obstinacy, that life passes inexorably. Even and l first-and only-enfant terrible of Italian cinema.
Bertolucci approached the stage with difficulty, using a walker. Perhaps affected by phlebitis, perhaps, rehabbing a strained lower back. We never knew for sure what was disease affecting Bernardo Bertolucci. The truth is that the director of Last Tango in Paris looked old-looking at that time. And we noted, with its obstinacy, that life passes inexorably. Even and l first-and only-enfant terrible of Italian cinema.
Today, the "total novel" would hardly be a success in the global narrative, hardly have the acceptance and understanding of the readers. If re-born Garcia Marquez, Vargas Llosa, Carlos Fuentes, Guimaraes Rosa, Alejo Carpentier or Tomas Eloy Martinez, would go a long way to consolidate complicated and as writers.
We dare say that the same would happen to Bertolucci.
His films amendments and interpretations of the history of Italy, of Italian society, modernity and its contradictions; of May in Paris and the surf, using the paradox Borges, studying powers light and shadows to design huge volumes to create true mural compositions, full of Mediterranean warmth of flesh and cold boreal; to represent communism grandly redeemer, and, proportionately, fascism degenerate , and in the countryside Parmesan, and in the cities at war, where there was room for passion Thanatos, for incest and for the ridiculous in equal proportion.
That powerful film, alluvial, holistic, could hardly have spectators in 2011. If Bertolucci reborn hardly be understood
profess admiration total of three tapes: strategy Spider (1970), The Conformist (1971) and 1900 (1977).
And in a song, right there, the splendid Moon (1978), Tragedy of a Ridiculous Man (1981) and The Last Emperor (1987).
Happy Birthday Bernardo Bertolucci.
Oscar Contreras Morales .-
So today, the world of culture provides several tributes. The television will be flooded with movies for the week, while the restored version premiered in high definition of his masterpiece, the most colossal, most epic, but not the best, "Novecento, who turns 35 in 2011. In the exclusive interview accompanying the DVD, the veteran filmmaker admits his future: "In the fall I will make a new film. I am in a period of exciting and cheap in the galleries and mines of creativity. I want to roll this film in 3D puzzles me the idea of \u200b\u200bsitting on the flying carpet that technology offers. " An experiment not only technology: the script is taken from a noir novel by Niccolo Ammaniti, Io e te (Me and You) and the production is of a young director, Fausto Brizzi, famous for having signed works of a more youthful and young. "I do not want to use 3D and Avatar or other films built on special effects, but to deepen the characters that I count."
Bernardo Bertolucci is an enfant prodige of Italian culture and burned all the stages. Born in the middle of the Po Valley, a dull, misty landscape, near the city Parma, late-Renaissance gem, just steps away from the farm where Giuseppe Verdi lived and invented their melodramas, dance of love and death. He saw light in the bombings of World War II books from the library of his father Attilio, a poet famous.
The first steps
When I was 15 years, the family moved to Rome Bertolucci. Bernard points to the University, published his first collection of poems and makes friends with Pier Paolo Pasolini, who lived a few portals below. And the hand of his friend, took its first step in film: Pasolini stood by during the shooting of Accattone (1961) and handed the script for his debut behind the camera in 1963: The commare secca, sweet ode to peripheries Ragazzi di vita style. The film garnered good press and applause at the Rome house frequented intellectual Bertolucci. So Bernardo could roll in 1964 before the revolution. Meanwhile collaborates with teachers of Western and horror, Dario Argento and Sergio Leone.
The Conformist
little more than his twenties, is a valued and esteemed director. Has the shoulders strong enough to get into a more ambitious phase of its production, which studies and interprets the identity of a country that is changing under his eyes, too fast. The first stone of his full artistic maturity is perhaps his most beautiful film ever: The Conformist, 1970, Jean-Louis Trintignant and Stefania Sandrelli and screenplay adapted from a novel by Alberto Moravia. The war is about to begin: Marcello Clerici, spy fascist political police out of their honeymoon to Paris, but the honeymoon is actually a cover. Marcello has a mandate to dispose of their expatriate and former militant anti-fascist professor. For optimal preparation of the film to be essential to use the photograph, given to the wise hands of Vittorio Storaro, restores a sensual atmosphere and ruthless at the same time.
Last Tango in Paris
An enigmatic Paris, colored in shades warm and morbid is the scene of his most transgressive film: Last Tango in Paris (1972) is an ode of love to the French New Wave. Marlon Brando agreed to star, his face haggard middle-aged man without hope or direction. For the role of the young woman chooses an unknown Bertolucci Maria Schneider, who died recently. Erotic passion which seems to leave the extreme and only possible reaction to conformity and boredom. But that also fails. The work drew criticism around the world shocked by their sex scenes. The head sits on the bench of censorship in Italy, where the Court will suspend the voting rights for five years and retires copies of the film. A stigma sprinkled him a certain air of poet definitely damn it devotes to worldwide fame.
Novecento
The prestige obtained, by hook or by crook, with the last tango, Bertolucci gives strength to the big jump. So conceived the idea of \u200b\u200ba colossal on proletarian struggles and halberds in Emilia (north). And decides to Hollywood Studios to the plains of his childhood. Robert De Niro, Burt Lancaster, Sterling Hayden, Donald Sutherland and the French Gerard Depardieu and Dominique Sanda in the cast are really impressive, alongside legends of Italian cinema as Laura Betti (Muse pasoliniana), Francesca Bertini and Stefania Sandrelli.
The Last Emperor
Following the colossal historical fresco Bertolucci escapes to China for his most honored: The Last Emperor, shot in 1987 with the permission of the Communist government and won nine Oscars. A twilight melodramón the inevitable end of a world of ancient traditions when bursting into modernity.
Dreamers
The last decades have not been particularly fruitful for Bertolucci who signed two films in the nineties (Io ballo da single, 1996, and L'assedio, 1998). In 2003 comes the claustrophobic Dreamers, where the director settles accounts with his ideology: the strength of a utopia is a beautiful dream but also a dramatic prison.
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