Bertolucci. Bertolucci is a style-plus director with a top 100 film- I don’t have many of those left at this point. The Conformist is a brilliant visual high-wire act of a masterpiece—directed with flair and gravitas. Although he’s got 9 archiveable films you can capture all you really need from Bertolucci with 4 films which certainly hurts his cause. I think it also hurts his cause that his most famous film (though not his best)- Last Tango in Paris– is way better known for Brando’s performance and the explicit content than Bertolucci’s direction (which is too bad because Bertolucci directs the hell out of it, too).
Best film: The Conformist. Politics, architecture and interior design (mise-en-scene all-timer here) and clearly a massive masterpiece. Trintignant gives his best performance and film noir and European art house cinema get a rare blending here.
total archiveable films: 9
top 100 films: 1 (The Conformist)
top 500 films: 3 (The Conformist, 1900, The Last Tango in Paris)
top 100 films of the decade: 4(The Conformist, 1900, The Last Tango in Paris)
most overrated: This is really boring but I think the 4 films of his (same top 4 below in the top 10) rated in the TSPDT top 1000 are very accurate.
most underrated: Last Emperor may be slight underrated at #813 on TSPDT but I’m not sure I’m probably pretty close.
gem I want to spotlight: 1900. RT beats it up but I love it. It’s gorgeous to look at, sprawling, kind of filthy in some ways. It reminds me of Once Upon a Time in America actually (which also stars De Niro and a mostly American cast with an Italian master in a really long film).
stylistic innovations/traits: Bertoluccci’s work is both provocative and vibrant. From Last Tango to Eva Green in The Dreamers Bertolucci is known for his controversial work. He was influenced by Pasolini (who he worked under) and Visctoni (The Leopard in particular). His work with Venetian blinds, shadow, architectural space, and epic filmmaking (pure photography) are matched by very few auteurs. His weaker filmography after his top 4 films doesn’t deter his poetic talent for large canvasses.
top 10
- The Conformist
- 1900
- The Last Tango in Paris
- The Last Emperor
- Before the Revolution
- The Sheltering Sky
- Spider’s Stratagem
- The Dreamers
- The Grim Reaper
By year and grades
| 1962- The Grim Reaper | R |
| 1964- Before the Revolution | R |
| 1970- Spider’s Stratagem | R |
| 1970- The Conformist | MP |
| 1972- The Last Tango in Paris | MS |
| 1976- 1900 | MS |
| 1987- The Last Emperor | |
| 1990- The Sheltering Sky | R |
| 2003- The Dreamers | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
1900 (1976)
Notes:
Starts with opening credits over a painting
1945
4:15 transition from painting to shot of sheep on grass field and slow pan to the left tracking man before he is shot to death
10:39 Donald Sutherland character brutally stabbed by women with pitchforks
12:01 De Niro character, Alfredo Berlinghieri, in cow stable facing peasant with a gun
13:12 dark blue tint over screen
21:41 over shoulder shot with Lancaster character in foreground facing away from camera
42 min dysfunctional family with a young Alfredo as a boy with strict father and grandfather played by Burt Lancaster
47:05 deep focus with nice use of foreground/background work
47:50 steady pan to the right in woods area while playing musical instruments
57:20 watermelon smash in foreground on right with deep focus on center of frame
59 min noticeable change from bright frame golden sun to desaturated color palette inside cow stables where Alfredo the Elder (Burt Lancaster) hung himself
1:14:14 beautiful use of bright red sunlight
1:15:00 peasants calling for strike
1:21:46 golden yellow covering most of frame with the wheat covering most of frame
1:26:12 bright red flags contrasts with gray steel of train, nice pan over train exterior prior to train departing with shots of filed from POV inside train
1:28:10 bright blue waters from POV inside train
1:29:06 nice transition of time, moving the story timeline forward using the POV shots from inside train as De Niro character shown as man in his 20s
1:35:05 gray concrete in claustrophobic interior
1:44:44 desaturated gray with constant camera movement a la Tarkovsky
1:45:52 beautiful museum worthy painting of the water and landscape
1:48:24 great use of wide angle shot and composition
2:04:02 great splitting of frame
2:05:12 triangle composition in love triangle
2:06:00 great blocking with 3 heads of characters in close up
2:21:04 360 pan
2:28:28 nice use of frame in frame at top of frame during dance sequence
2:30:33 beautiful shot at magic hour right before image of fire and screen becoming bright orange
2:31:33 overhead shot during sex scene
2:34:34 nice use of frame in frame with character in midground
2:36:20 shot held with characters moving across frame in background
2:39:52 frame split in 3
2:42:55 nice use of shaky camera throughout sequence
2:48:12 bright orange light throughout frame as characters do hard drugs
2:50:18 frame in frame
3:00:00 wedding sequence between Alfredo and Ada
3:02:42 humor scene, not sure if humor was intentional
3:06:50 Alfredo ordering “the help” from socializing with others in the house
3:16:05 beautiful deep focus shot with trees in woods perfectly lined up and symmetrical
3:18:24 triangle composition of shot in woods
3:36:03 nice splitting of frame
3:43:49 low angle shot with bars in foreground as Ada desperately fights off
3:49:00 shadows and patterns from venetian blinds
3:52:13 long shot with hill taking up half of horizontal frame
3:53:00 orange tinted frame and beautiful magic hour like images
4:01:47 two shot of Alfredo and Ada with rest of screen black
4:04:25 nice transition from great two shot to sequence in heavy snow
4:07:35 Attila Mellanchini (Donald Sutherland) face half covered in shadow during sequence
4:09:45 car windshield as frame
4:10:19 POV shot from inside car
4:19:15 nice silhouette image
4:20:38 slow zoom out
4:26:48 deep focus and frame in frame
4:30:25 shaky camera used during chaotic sequence
4:32:20 spilt diopter
4:33:46 pan through desaturated frame during intense rainfall
4:36:17 hard not to t
4:36:32 great transition from gray desaturated frame to bright colors including a rainbow; jump to the timeline at the opening of the film
4:39:40 bright sun as Attila is stabbed by peasant uprising
4:47:19 gun from off screen enters the frame
4:55:32 bright red banner
5:03:03 beautiful shot, symmetry
5:03:40 orange glare from sun in upper right of frame
Thoughts:
My previous Director Study for Sergio Leone featured the longest film I had covered so far with Once Upon a Time in America at almost 4 hours. Bernardo Bertolucci’s epic film is over 5 hours
Hard to go wrong with Bertolucci, Vittorio Storaro, and Ennio Morricone
Ebert said this was “epic only in length” I do not agree with this and found the pacing to be fairly effective as the film never grows stagnate despite the long run time. With that said I am not sure the runtime is entirely justified. Ebert’s critique about lack of well-defined characters I found to be somewhat true. Admittingly this can be difficult to achieve with a film of this scope. I actually noted some similarities to Ridley Scott’s Napoleon (2023) although this film is definitely superior and is a great film but the length and jumbled way the story is told is a weakness
Whatever shortcomings you have with the screenplay are made up for and more by the visuals; the opening painting is not as intriguing as the one to open Last Tango in Paris but still great image to open with. Bertolucci use of color is a highlight for me, the bright green grass and yellow wheat fields is countered with the desaturated gray frames that remind me of Tarkovsky’s Nostalghia and Stalker. I like the use of orange lighting throughout many of the frames and some shots during magic hour or at least looked like they were. There are beautiful compositions throughout the film, Bertolucci loves to split the frame, I do not know if any other auteur I have covered does this as much. There are beautiful compositions throughout the film, Bertolucci loves to split the frame, I do not know if any other auteur I have covered does this as much
Bertolucci’s camera is active, and I love the use of slow pans and 360 pans to capture the entirely of the surroundings
How on earth did De Niro do this the same year as Taxi Driver and The Last Tycoon (I have not seen this but it’s another film in which he plays the lead role). De Niro is great as always, but I really liked Donald Sutherland’s performance, I think it is the best in the film
Bertolucci does not hold back when depicting sex and violence. It is explicit and raw to a degree that is quite rare with a few exceptions. The eruption of violence that bookends the film is interesting because the opening scene we do not know why the violence is being perpetrated and then we see the same violence at the end, and it makes sense
Verdict: MS
@James Trapp-I think the film makes its characters a laughing stock at the end of this film. I don’t know how it affects the film or not but it certainly makes the performances weaker. De Niro is doing superb work until he reconciles with Sanda in the bar like instantly? Then he becomes a sort of pathetic love seeker? And that final scene of him trying to walk like an old man is meme worthy.
Sutherland definitely deserves a better death than the one this film gives him but again given the tone at the end I don’t know if it hurts the film. Also Laura Betti who along with Sutherland make one of the truly sinister couples to ever grace the screen has more depth than Sutherland but she just shows no emotion when Sutherland is killed then somehow screams when the group leaves her without killing?
I think the earlier first half performances are the ones who are left unscathed and in good shape. Like the ones from Sterling Hayden and Romolo Valli(who goes through an incredible transformation from a buffon to a chilling landlord. Can any other actor do that?). And the first half is much stronger than the second. The disappearance of Sandrelli after the first half and constant attention to a rather irritating Sanda in the second half is not warranted. And somehow Depardieu hooks up with every woman in town after Sandrelli disappears?
But this is a visually beautiful film nontheless. The ending of the first act is the period I was most hooked to the film. It’s a wild film and I found there are constant pervertism thrown in every 5-10 minutes for not much reason which broke my immersion. One for example happens when De Niro is arousing Betti’s character in the forest while a gang war is going on?
@Malith – The 1st half is definitely stronger. If this was made today, it probably would be a Netflix mini series. Overll I was impressed even if everything does not work
@James Trapp-Absolutely wild film. It has things in it that no other film may contain. Also it seems like Italian directors who broke through in this era like Bertolucci and Argento has an unhealthy obsession with cats. Are you going to see Luna? I checked and it now has an improved critical reputation. In the top #1500 or so at TSPDT.
@Malith – no, I watched The Last Emperor (1987) and will post that one soon and am planning on Sheltering Sky (1990) and wanted to see The Dreamers (2003) but having trouble locating it. If I can find it I will watch and do notes. Then I will be starting a Visconti Study
@James – I don’t think you will miss too much skipping the dreamers but maybe you will enjoy it more than I did since it shows so much love to the French New Wave.
@Harry – yeah it looks like Sheltering Sky will be the final film of Study for now. Really enjoyed this Study. Thanks for the recommendation
Last Tango in Paris (1972)
Notes:
Starts with montage of bizarre museum paintings set to opening credits
Marlon Brando playing Paul and Maria Schneider playing Jeanne
The camera work in the opening shot of Paul cursing is fascinating
3:00 Paul cursing walking through an underpass as train noise is accentuated
Maria Schneider’s Jeanne first appears in large white coat and walks past Paul who is wearing orange/brown jacket
4:17 close up on Paul’s face
5:45 splits the frame with distinct colors
6:21 yellow/orange tinted lighting
7:26 Bertolucci loves shots of windows
9:20 color palette of room reflects Francis Bacon paintings
12:25 frame split in half with Paul on left and Jeanne on the right, though different depths of field
14:15 sexual relationship begins
17:08 frame split, white of left with Jeanne behind glass door and orange on right with Paul in front of glass door to the apartment building
19 min Jean-Pierre Léaud plays a love interest of Jeanne’s
20:50 again frame split with Paul and Jeanne on opposite sides
23:30 cutaway shot to bridge in opening scene
25:58 “no names!” Paul is so good here as Bertolucci holds shot
27:22 Paul in background out of focus and Jeanne in foreground with her head turned from camera, giving off an anonymous nature to this relationship, shortly after Paul in silhouette
35:45 medium close up on Paul and Jeanne naked in each other’s arms in middle of frame followed by slow zoom out and then zoom back in
37:30 bizarre sequence as the lovers makes strange, almost cartoonish noises
43:02 shot of Jeanne reading in the dark in the middle of apartment
43:43 door as frame with slow zoom
48:02 Paul with extended monologue in close up with Jeanne listening off screen
51:03 half of Paul’s face covered by shadow
1:00:20 silhouette two-shot in dark apartment with blue tinted windows
1:02:23 triangle composition with Jeanne and her reflection
1:08:54 Paul again in silhouette
1:12:02 orange and red in background, Paul and Marcel (his ex-wife’s lover) are wearing the same robe and talking in completely civilized manner
1:15:14 camera place low to ground with Paul sitting on floor but not visible when Jeanne initially enters
1:17:05 the controversial rape scene involving stick of butter and I will say no more
1:27:20 camera slowly panning across apartment hallway
1:28:10 overhead shot of lovers in elevator
1:31:14 shadows on the walls of Paul’s apartment
1:31:31 Paul bathing Jeanne
1:33:22 frame split creating frame in frame
1:36:20 Paul enters dark room and sits down, soon revealed his dead wife is in the room laid out to be buried at funeral
1:39:49 surveillance angle shot while Paul vents all his anger and bitterness talking to his dead wife
1:46:47 another split of the frame with one character behind a window/glass
1:47:34 Jeanne cries in claustrophobic telephone booth, she is finding herself more and more confused in trying to figure out what she wants
1:49:55 nice split frame with Jean-Pierre Léaud character on the right side of the frame followed by pan to the right
1:51:38 nice use of frame in frame in tracking shot
1:51:54 underpass of train from opening scene only now Paul is warm toward Jeanne and finally tells him some information about himself
1:52:54 high angle shot of Paul and Jeanne inside Tango Dance
1:57:00 the look of pure misery as Jeanne and Paul gets drunk
1:59:08 overhead shot as they drunkenly fall down on the floor several times
2:02:20 beautiful use of lighting and symmetry as Brand follows Jeanne out of dance hall
2:04:18 symmetrical shot of apartment doors
2:04:56 rapidly spinning of the camera creates dizzying sensation
2:07:03 Paul shown in silhouette after being shot by Jeanne in her apartment
2:08:00 camera panning over Paul who is now dead, followed by slow zoom out revealing Jeanne shot him as she practices for the police
2:08:36 in final scene the frame is split with Jeanne in focus in the foreground and Paul out of focus in background
Thoughts:
Bernardo Bertolucci and Marlon Paul team up for a fascinating film with both on top of their game
Bertolucci quote on strange opening paintings
“When I decided to make the movie, I took Vittorio Storaro to see a Francis Bacon exhibition. I showed him the paintings, explaining that this was the kind of thing I wanted to use as my inspiration. The orange hues in the film are directly influenced by Bacon”
After entrancing you with the Francis Bacon paintings, the film’s first scene takes place at the Pont de Bir-Hakeim, a bridge in Paris. The camera pans over Paul holding his ears and cursing as train passes through
Bertolucci is masterful and splitting frames and showing two characters acting in the same frame but independently of one another. The films two main characters are shown in the same frame a few minutes into the film following Paul’s Paul cursing under the train line
The color palettes here are dominated by Orange, browns, and grays. Paul is almost always shot in orange lighting. There is little use of blue which dominated the Paris scenes in The Conformist (1970). Few directors, if any, love windows, curtains, and doors as much as Bertolucci. His use of expressionist colors and symmetry is a perfect match for these types of images. I actually pulled up an image of the paintings from the opening of the film on my computer, while taking notes and watching the film
While they are in the same room for much of the film, there is a disconnect between them much of the time. Bertolucci shows this a few ways; the body positioning in many of the frames, curtain preventing sunlight from entering the apartment as many of their sexual encounters happen in the middle of the day, use of shadows, and conversations that are closer to monologues although for Jeanne this is not due to a lack of trying. Paul is shown in silhouette a number of times and even prevents Jeanne from opening windows on several occasions
The tracking shots and pans used throughout the film are always smooth and controlled. This perfectly matches the film’s steady tempo, which is never rushed or slowed down in an attempt to manipulate the emotions for the viewer’s experience. One crucial exception in that great opening shot of Brando cursing while holding his hands over his ears with train above, here the camera movements are sharp rather than the smooth gliding
Brando’s performance is just tremendous. His character Paul is bitter, mean spirited, and all around unpleasant. Still, he is a tortured character and that scene with his deceased dead wife is so heart breaking. Brando can enthrall you in a way that few other actors can. I take notes while watching these films but sometimes I just get completely lost in a scene and the scene with his dead wife is one of those moments. Apparently, Bertolucci gave Brando the green light to improvise as much as he wanted and you can see it in how raw and savage his character is much of the film
The Tango sequence near the end of the film could potentially be intended as symbolism Paul and Jeanne walk into the Tango Bar and everyone on the dance floor is actively dancing with a partner (hence the phrase it takes two to tango) while Paul and Jeanne walk through the dance floor individually
It kills me to say it given how much I love not only “The 400 Blows”, but the entire Antoine Doinel series but the Jean-Pierre Léaud parts of the film are a bit of a weakness. Maybe this is on Bertolucci just as much but it’s as if Léaud was acting in a different film. Then again it is not enough that it does significant damage just think a different actor would have worked better
Verdict: MP
** Bernardo Bertolucci and Marlon Brando team up for a fascinating film with both on top of their game
@James Trapp-Schneider is good. But can you see Stefania Sandrelli pulling off the Schneider role here?
@Malith – I think The Conformist (1970) is the only film I have seen her in. I have 1900 coming up next. I just scanned her filmography so perhaps I missed something. But from the one film I have seen her in I would say that yes, I could see it although I liked Schneider’s performance in this.
It looks like she is an a 1968 Bertolucci film Partner. Have you seen this?
@James Trapp- I haven’t seen Partner. But she plays a big part in the first half of Novecento or 1900. Infact Sandrelli and Sanda’s characters in Novecento are not far off their chatacters in The Conformist. She has a big memorable scene near the intermission.
*Also Bertolucci wanted Schneider for the Sandrelli role in Novecento
The Conformist (1970)
Notes:
Jean-Louis Trintignant as Marcello Clerici
Starts with neon red light flickering on and off while man sits on bed with eyes closed and a somber score from composer Georges Delerue
2:52 composition with multiple depths of field with clear doors for hotel entrance
3:15 icy blue tinted frame, as score conveying sense of danger
5:37 frames filled with characters in various depths of field as camera follows Marcello walking back and forth, score upbeat and color palette consists of silvers/grays/browns
6:57 holographic image over glass
7:28 Marcello is interviewed for government position, a reflection of him is visible on left side of frame
8:04 high angle shot inside intricately decorate interiors
9:04 amazing composition with patterned shadows on the interior floors
9:35 Marcello’s gray suit blends in with the curtains
11:04 beautifully framed two shot with characters in profile
11:44 venetian blinds create patterns with the light
15:56 canted angle tracking shot
16:34 extremely canted angle of gate in foreground
19:34 deep focus silhouette image
22:43 camera set low surrounded by countryside during a windy day with fall leaves, this transition to a shot in Italy with large white marble structure
27:28 confession booth with the entire left side of frame blocked out
29:51 disturbing flashback sequence ending with a young Marcello shooting an adult named Lino after an attempted sexual encounter
34:42 wedding sequence with neon red similar to opening image
35 min throughout the wedding sequence there are bright colors and neon colors
40:11 Marcello’s wife admits she is not a virgin, but he seems assumed more than angry
42:20 yellow/orange tinted frame inside art museum
44:14 Marcello given gun to commit a murder, he makes several animated gun draws before leaving room
45:16 gorgeous orange/yellow sunset as Marcello and his wife have sex on the train
54:01 oval shaped frame inside frame
55:07 men here traveling in a pack
55:44 beautiful shot with hazy cloud of light inside darkened office of Professor Luca Quadri (played by Enzo Tarascio) in Paris as he and Marcello discuss politics while moving around frequently. Quadri was once Marcello’s professor, and he has been given task of murdering Quadri
58:52 carefully detailed room
59:54 Marcello shown on screen in this frame is reflection
1:01:27 blue tinted frame (almost like a Jean-Pierre Melville film)
1:02:56 several beautiful compositions during this sequence as Anna Quadri teaches a dance class, blue and yellow contrast in mise en scene
1:05:39 Anna tells Marcello she knows he’s being used as a Fascist spy, then she removes her clothes, and makes advances toward him, again blue and yellow contrast in mise en scene
1:13:52 another beautiful composition using blue and yellow
1:20:40 Marcello gets pep talk from fellow government official getting the sense that Marcello may bail on his assignment of assassinating the professor
1:22:30 dance sequence with blue and red painted window frames and symmetrical shot of dance hall
1:24:36 surveillance angle shot of dance hall
1:31:27 barren woods area with grays/blues abrupt change visually
1:35:00 horrified by the betrayal
1:36:21 handheld camera work is so unnerving
Thoughts:
Bernardo Bertolucci’s most acclaimed film and easy to see why; the visuals are stunning, the performances excellent, and the narrative engaging. While the film is set in Italy during a specific time period it has universal themes
This film is amongst other things a great character study of a man who is despicable and pathetic but also sympathetic to a degree. He ultimately is a man who will always take the path of least resistance. He just wants to fit into his environment which humanizes him as that is a feeling most people can relate to. His marriage is of course a façade that serves no purpose other than to fit in and also as a way to try to suppress his sexuality. Of course, it is this same quality that motivates him to agree to a terrible act. That he ultimately does not do the right thing and tip off the target is actually refreshing as it would have rung false given everything we have seen from him prior to that moment. He is a coward but also a man forced to deal within the conditions of the time and place he lives like any other person. I noticed some similarities to Louis Malle’s Lacombe, Lucien (1974) as they both focus on characters who are almost blank slates with little personality or genuine beliefs or values and just go along with whatever is most convenient with respect to the contemporary political and social environment. At one point Marcello even asks a colleague and friend as to “what is a normal man like?”
The film’s visuals are what it is best known for. There are numerous breath taking shots and spectacular imagery. However, there is much more going on beyond just amazing aesthetics. Vittorio Storaro as the film’s Cinematographer deserves a mention here, the architectural detail is crucial to the film’s themes. The sequences early in the film which take place in government buildings in fascist Italy are highly structured with perfect symmetry and repeating patterns. These structures are made of white marble and there are shades of gray and silver with little to no primary colors. They are often grand in size diminishing the humans next to them; this is especially clear when Bertolucci uses long shots and sharp angles
The scenes in Paris are a noticeable visual contrast, especially in color as you have the use of deep blue in many of the frames. The blue and yellow expressionism in the mise en scene is gorgeous in several sequences such as Anna teaching dance lessons. These differences are effective reflection of the more vibrant atmosphere in many of the Paris scenes, especially the dance hall sequence
The assassination sequence occurs in the white of winter with snow falling everywhere before entering the woods where the assassination is carried out despite Marcello freezing up. The Coen Brothers Miller’s Crossing (1990) was one film the look and location of the assassination scene reminded me of
Around the 55 min mark there is a scene inside the darkened office of the professor as he and Marcello discuss politics. There is a beautiful shot with a hazy cloud of light seeping into the office from the outside. The stripes of shades are filtered by the curtains forming what looks like prison cells over Marcello
There are visual motifs related to identity, in particular mirrors and reflections off glass windows. There are distorted images using canted angles and reflections. Venetian blinds are used more than once and they are stunning
There is a noticeable contrast between the beauty of this film and its amoral characters. In fact, the film really does not have any particularly likable characters
The shaky camera work during the chase down and murder of Anna is extremely unnerving capturing the sheer terror and confusion of the horrific situation.
Verdict: MP
@James – Great work with this – I think the non-linear structure is also worth appreciating. Why do you think Anna is attracted to Marcello? Do they know each other before the events of the film or is she trying to save her husband?
@Harry – thank you, interesting question I was thinking of everything through Marcello’s point of view that I did not think as much about other character’s view points. I think her attraction speaks to Marcello’s ability to temporarily decieve people. He is younger and objectively better looking than her husband though both are much older. His suave exterior is a mask hiding his true nature of cowardice, which she finally realizes too late.
Regarding the non-linear structure; the flashback to his childhood memory of being sexually assaulted by Lino, an adult, could have been used later in the film but that might have come across as a simplistic way to explain away Marcello’s behavior as an adult. So I like that it was introduced earlier in the film.
@James – I just like how the non-linear structure leads to the depressing reflexive atmosphere… the film starting with his car ride to to assassination then flashing back and forth as he gets closer to the forest – helps build up his apprehension since he’s thinking back on his life and trying not to think about what’s coming up next.
@Harry – good point regarding the building of his apprehension. It shows that Marcello has never been comfortable in his own skin. In a way he has lived his entire life in fear; a prisoner to how he believes he should act. Its both amusing and depressing when he asks his friend “what is a normal man like?”
The Spider’s Strategem (1970)
Notes:
**There are two characters named Athos Magnani and both played by the same actor; they are a father and son shown in two separate timelines so for the notes I will refer to them simply as “the son” and “the father”
Starts with collage of animals set to jazz
The son exits the train in quiet small town
Series of shots track his movements to a hotel through a mostly empty and quiet town
7:40 360 pan followed by slow tracking shot of older woman, Draifa
9:07 Athos Magnani arrives by train in the town of Tara, where his father, also named Athos Magnani, was killed before his birth, he was invited by Draifa, who was his father’s mistress
18:50 the son punched in face by man who showed up to his place, its kind of hilarious how fake the punch is, not sure if the humor is intentional or not
22:30 dissolve to memory of the father, who is played by same actor, with screen becoming darker
25:20 symmetrical composition with deep focus
34:03 360 pan during dance
37:34 dissolve used to transition scene to flashback
40:31 nice use of blocking and lighting
43:49 movie poster for Robert Aldrich’s The Last Sunset (1961)
45:52 camera set low capturing courtyard
50:56 beautiful composition in woods with symmetrical shot including V shaped tree path
53:43 multiple depths in this shot which uses shallow focus
56:42 cutaway shot to bright green grass field
1:03:25 opera music plays as tray with Lion’s head
1:04:24 frame in frame using trees
1:07:30 purple and green mise en scene
1:10:14 tracking shot through town square
1:18:54 beautiful frame in frame in frame
1:20:10 the son blends into blue tinted frame in a narrow alley, claustrophobic
1:21:25 composition with characters in multiple depths of field as the son moves around town at night unable to get out
1:23:41 close up profile shot as son is shown several times isolated in the frame while attending Opera
1:31:52 foreground and mid-ground filled with people holding umbrellas over their heads
1:34:16 great silhouette image of son standing on balcony in middle of town
The film ends with the son arriving at the train station to leave after learning the truth about father before discovering the train tracks indicate there is no working train
Thoughts:
Bertolucci with another film with political subject matter. However, there is an allegorical nature to this film; the basic set up is a man goes to a town his father died in 30 years prior and with that death being a possible murder.
Initially it looked like this was going to be a mystery focused on a man investigating the death of his father but that is not really what the film ended up being about. It is not a police procedural or a PI detective film
The setting of the film almost feels like a ghost town at times despite some beautiful shots of the Italian countryside. Maybe ghost town is not the most accurate phrase, but it is a town that feels stuck in the past; that the film’s protagonist has the same name as his father who is a town legend and is played by the same actor, Giulio Brogi, this is not a coincidence. There is a reading that the film is about history repeating itself amongst other interpretations
Green dominates much of the mise en scene between bright green grass, green painted villas, and shots of the countryside
There are several slow 360 pans immersing the viewer into the film’s setting, slow zoom outs showing images and giving increasing context, and a number of shallow focus shots. This all lines with the themes of
illusion and deception as things are not what they may initially appear to be
The town becomes increasingly claustrophobic with seemingly narrow alleys, characters in shadows, and close up shots
Verdict: R/HR
Before the Revolution (1964)
Notes:
Starts with voiceover narration of young man running, we learn this young man named Fabrizio has middle class roots and is interested in the Italian Communist Party
3:14 ariel shot of city
5:21 shot of beautiful woman in streets before cut to close up shot of a young man’s face
8:05 two-shot with chain fence in foreground
9:49 the great Ennio Morricone with the score for this film
13:25 photographs as exposition
16:50 wide angle shot of water
20:48 nice use of car door to frame this two-shot with Fabrizio captured on the right side through the car window as a medium while his girlfriend Clelia is captured on the left side of the frame directly. The couple argues over their differing views of the world
25:55 mirror images of Fabrizio and Clelia in frame making 4 people, another visualization of divide
29:08 iris shot capturing the couple in a crowd downtown
36:20 Fabrizio in black clothing again and Clelia in white
38:28 surveillance angle shot with sound temporarily muted
45:32 high angle shots tracking couple through street
51:27 couple on diagonally opposite sides of frame
1:01:03 surveillance angle shot
1:02:20 newspaper stand filling the frame
1:05:08 out of focus shot
1:06:20 poster for Godard’s “A Woman is a Woman” outside Cinema
1:06:39 Anna Karina discussed after the 2 friends leave the Cinema
1:12:30 two character triangle composition via mirror image
1:24:36 tracking shots and jump cuts depicting long walk through the park and then city streets
1:25:58 nice layers of political signs in multiple depths of field
1:29:00 panning across frame back and forth
1:36:26 shot inside a large Opera theatre going from pitch black to lights slowly turning on
1:36:57 great blocking in this shot showing disconnect between Fabrizio and Clelia via the positioning of the characters in the frame with a disinterested Fabrizio standing in background of frame looking off to the side and Clelia clapping while looking back toward Fabrizio
1:37:28 sweeping shot of theatre
1:37:57 camera positioned low to ground in shot of Fabrizio right after exiting booth and walking in empty hallway, again positioning of character is key showing Fabrizio feelings of isolation
1:39:30 characters in multiple depths of field
1:41:39 frame in frame using door with Clelia in shot isolated
1:42:40 wedding vows, four characters in frame with 3 in white and Fabrizio wearing black
Film ends with series of slightly out of focus close up shots during wedding before abrupt freeze
Thoughts:
It is tempting to view this film as Bernardo Bertolucci exploring a younger generation of Italians pondering their political identity and the values of their generation. Yet Bertolucci was amazingly only 22 or 23 when he directed this
There is minimal plot, the film is more about a generation of young Italians (young adults mainly) pondering their political identity and the values of their generation. A young adult named Fabrizio and his girlfriend Clelia
Hard not to think of French New Wave Cinema with this film, in particular Jean Luc Godard who explored conflicted middle class young adults who identified as Marxists. The film employs a loose narrative like some Godard’s work. And this was before 2 of the characters actually go into a Cinema to watch Godard’s A Woman in a Woman. And then after that they go to a café and discuss the film and name drop Hitchcock, Rossellini, Nicholas Ray, Godard, and others
Starting near 97 min mark there is impressive sequence where body positioning in frame speaks volumes by showing Fabrizio completely disinterested in Opera show while Clelia watches on, Fabrizio steps out into hallway and shown in back of frame surrounded by empty hall showing his increased feelings of isolation within his relationship to a woman who does not share his political and cultural beliefs
Over course of film Bertolucci increasingly uses visuals to show Fabrizio’s disconnect from most of the people around him whether that is showing him in isolation within the frame, contrast of his clothes (usually darker) to the characters surrounding him
Verdict: HR
“And this was before 2 of the characters actually go into a Cinema to watch Godard’s A Woman in a Woman. And then after that they go to a café and discuss the film and name drop Hitchcock, Rossellini, Nicholas Ray, Godard, and others”
This is wild. I didn’t think A Woman is a Woman is appreciated that much.
@Malith – Interestingly Bertolucci married the film’s lead actress, Adriana Asti, shortly after the film’s release and divorced a few years later. So a bit like Godard and Anna Karina. The difference, Godard was 10 years old than Karina where as Bertolucci was actually 10 years younger than Adriana Asti. I went into study with little background on Bertolucci so learning as I go. Apparently he was a Marxist like Godard.
@James – The French admired, the Italians disliked:
“At the start of my career similar things happened to me. “Before the Revolution,” my second film, went to Cannes Critics’ Week in 1964. It won prizes. Cahiers du Cinéma and various other international publications glorified it. But most Italians were disparaging toward me. They almost insulted me. So I know that type of failure.”
https://variety.com/2018/film/global/bernardo-bertolucci-luca-guadagnino-1202711089/
@Harry – Interesting, the film I was most reminded of when watching was Godard’s Masculin Féminin (1966) which actually came two years after Before the Revolution (1964). The film started off a little slow but picked up. I’ve decided to go through each film of this study cold, with obvious exceptions for The Conformist and Last Tango in Paris since I have previously watched those two.
The Grim Reaper (1962) Italian Translation “La commare secca”
Notes:
Starts with low angle shot under highway in Rome
2:14 there is a woman’s body, presumed to be dead, in a field of grass followed by zoom out
3:06 freeze frame on hand of dead woman
4:!6 young adult male on stage with spotlight on him while he is interrogated by the police
5:09 aerial shot of the city followed by overhead shot of a teenage/young adult boy
10:10 close up on boy’s face while screaming transitions to shot of the rain using window as a frame
13:19 unnerving shot of boy crawling through grass of forest area when an arm shows in the foreground of the frame, a couple catch him red handed trying to steal radio but let him go
18:27 tracking shot of boy walking through park in the evening
20 min another person being interviewed by police, while he recounts what happened in flashback
28:42 shadowed faces through sequence that consists of mother/daughter arguing
32:10 rainstorm, noticing a pattern regarding Kurosawa
34:42 shot of highway from opening scene
35:55 another young adult male being interviewed by police
37:30 tracking shot of the latest character following a harassing various young women in the area in a sequence set to drum but is otherwise inaudible
42:28 beautiful use of light pouring through window in back of frame creating silhouette like image during daytime as character descends the stairs
46:04 shot of soldier sitting near underpass, slow zoom out as more and more characters are revealed in frame in while holding the background image which becomes increasingly smaller
51:16 close up profile shot in shadow
57:04 two-shot of teenage boys alternates with two-shot of teenage girls sitting on park bench leading to shot of all four in the frame
1:01:04 dissolve edit
1:01:21 shot of water dripping down window during rainstorm similar to shot from earlier in film
1:07:13 back of woman’s head looking out the window shrinks the frame
1:08:04 overhead shot of two boys and two girls sitting at kitchen table at the house of one of the girls
1:09:20 sweeping pan shows multiple character at park at night
1:15:02 high angle long shot of boys running from park
1:19:24 close up shots on the faces of a man and the prostitute in the park as they start a conversation
1:24:32 the solicitation turns violent; it is revealed there is a witness
1:26:18 nice camera movement through crowded dance floor
Thoughts:
Bernardo’s first film is certainly intriguing, he uses different angles to show what is happening on screen using a montage of distances and angles in rapid succession
There is an undeniable similarity to Kurosawa’s Rashomon (1950) with the flashback structure through police interviews and an act of violence occurring in or near a wooded area. They are both exactly 88 minutes and have scenes during a downpour. However, here we learn exactly what happened which is of course not the case in Rashomon and is sort of the point
There are some nice sweeping camera movements and overhead shots showing the surrounding area/landscape of the characters
There are some nice zoom outs giving increasing context to the compositions
Verdict: R
@James – very excited about this study.
@Harry – thanks, it was per your suggestion plus I had been wanting to watch The Conformist (1970) and Last Tango in Paris (1972) again
@James Trapp-Bertolucci was only 21 years old when The Grim Reaper was released.
@Malith – yeah I noticed that too, crazy young
@Drake – planning a Bernardo Bertolucci Study after I finish up with Leone. Just curious as to whether any of those Simple R have been upgraded since making this page. As of now I have these plannedThe Grim
Reaper 1962
Before the Revolution 1964
The Conformist 1970
“The Last Tango in Paris ” 1972
1900 1976
The Last Emperor 1987
The Sheltering Sky 1990
The Dreamers 2003
@James Trapp- good for you tackling some giants like Leone and Bertolucci here- I have the first 3 and last 2 as recommends still
@James – I think Spider’s Strategem, Beseiged and Stealing Beauty are also worth seeing. Little Buddha has some great images but is deeply flawed too
@Drake – I think The Sheltering Sky needs a revisit, I found it to be visually stunning…
1900(1976)
-A very unsubtle film
-A lot has been written about the productions of Apocalypse Now and Heaven’s Gate but this one is more overproduced than both of them and far from perfect. A mess. Needless pervertism every 10 minutes
-Runs 5 hours and 17 minutes
-English language version. Dubbing of Depardieu is not great.
-Very similar to Heaven’s Gate with the peasants fighting against the upper class in very well photographed rural landscapes
-Shot in English. Can tell by the lip movements. Italian in only a few spots. But both versions are dubbed I think.
-Spans generations. Epic story.
-Obsession with male genitals and little kids (paedophilia). Not a good look
-The class divide between rich and the poor is done well. Plenty of contrasting scenes. At the dinner table. The rich are divided. The poor are like a community. Especially in the first act. Also in the wedding between De Niro and Sanda
-The two main characters when they are kids are not that similar when they are older. De Niro is shy, a bit arrogant when he is a kid, when older he is energetic and friendly. Depardieu is self obsessed, angry as a kid, a sponge/hard working as an adult.
-A great edit on the train as they go from kids to adults. The color palette is visibly different as well.
-Great work from Sterling Hayden. Born to play a peasant with that voice. Dies under a tree.
-Lancaster’s character is ruined by the sub plot involving the little girl. Don’t expect the audience to care about and feel for him after he does one of if not the most disturbing thing I have ever seen in a film with a little girl.
-Very impressive transformation from Romolo Valli through 3 different phases. Starts as a dimwit, nervous figure who fears Lancaster, in the second phase he is trying to gain control and rude to Lancaster but a lot of fears behind that made up exterior. In the third phase he is completely transformed. Evil. Chilling
-Sandrelli and Sanda are back together after The Conformist, Romolo Valli and Lancaster are back together after The Leopard. Although Valli appeared very briefly in the Lancaster starring Conversation Piece I think
-Act one ends very strongly
-Had some problems with Morricone’s score in the second act. The scene when Depardieu is trying to free two men being taken away comes to mind.
-Sutherland is not very intelligent. His wife does the manipulating.
-Sanda arrives in the film after 2 hours and gets a huge role for some reason. She is amusing at first but then it gets tiring. This role needs to be drastically reduced. Especially those screams and shrieks are ridiculous.
-De Niro and Sanda are making it out while Sandrelli and Depardieu are trying to save the communist building and screaming in the street. Good contrast.
-Weird use of blurry effects 4-5 times
-Poor acting from the peasant who cut his ear when Depardieu and him meet again.
-The Ottavio character (De Niro’s uncle) is poorly done and developed. All the attention is given to Sanda
-Visually quiet moments. Both the scenes with the prostitute who has an epilepsy in the first then meets again in a bar. Even the scene of De Niro and Depardieu reuniting after De Niro barges into Depardieu’s house.
-Sandrelli’s character is removed from the film and Depardieu makes it out with all the women in town. Bizzare.
-Sandrelli and Sanda in reality should have had the same amount of screen time. Needless to say the first act is stronger than the second when Sandrelli is removed from the film. Creates an imbalance
-Depardieu looks the part and does fairly well. But he lacks spark in the romantic scenes with Sandrelli. And this love story is poorly done overall.
-The dress on Sandrelli matches the color of the communist building
-Hairstyling on Sandrelli is terrible
-The scene of Sandrelli and Depardieu pushing the cart with the dead bodies is maybe Sandrelli’s finest moment as an actor. Even if she is given much more to do in The Conformist.
-Needless animal violence. Killing a pig and birds especially.
-Sutherland is pure evil. His wife character is strong too specially in the manipulating scenes. She is more intelligent and manipulating than Sutherland. But sadly they make Sutherland a fool/joke at the end. Deserves better.
-De Niro is superb. His arc was good too for a while but then needless bondage with Sanda begining in the middle of the prostitute meeting bar scene. But from his part he tries too hard when playing an Old man. That walk kills me. Jeez.
-The tone of the film especially at the end takes the sting out of the performances (Sutherland, De Niro)
-Turns into propaganda at the end. The victory doesn’t feel earned. Sutherland’s buddies are oddly missing.
-Ultimately a comedy.
-Very strong visuals. The bright colour palette in the earlier scenes when they are just born and when they are children. Turns into dark colours when the fascist rules and then again into bright colours on liberation day
-Recurring motif of sleeping on the railway track. Comes back at the end. Good
-The highs are probably the closest Bertolucci ever came to The Conformist.
-HR/MS
Doesn’t the over reliance on Sanda and killing off Sandrelli create a total formal imbalance in 1900? And worse Sanda is a mess in this film. Her antics are amusing at first but then she starts to shriek and scream and it’s unbearable. Total out of control performance. Thank god she didn’t get the Maria Schneider role in Last Tango in Paris.
Top 10:
1. The Conformist – MP
2. 1900 – MP
3. The Last Emperor – MP/MS
4. Last Tango in Paris – MS
5. The Sheltering Sky – HR
6. Besieged – R
7. Stealing Beauty – R
8. The Spider’s Strategem – R
9. The Dreamers – R
10. Little Buddha – R (borderline)
Top 5 performances:
1. Brando – Last Tango in Paris
2. Trintignant- The Conformist
3. Lone- The Last Emperor
4. Sutherland – 1900
5. Spall – The Sheltering Sky
6. Lancaster – 1900
7. Deprideau – 1900
8. Schneider – Last Tango in Paris
9. Sanda – The Conformist
10.Tarascio – The Conformist
It’s Depardieu. Not Deprideau haha. Have you seen Luna? More famous for the Tarkovsky quote than the film itself
Depardieu!
Not yet, it meant to watch it with I was going through all the films shot by Storaro and it’s the only one I have left. Funnily enough I only found about that Tarkovsky quote a few days ago.
@Harry-Did you see Coup de Chance? One of the most interesting French films released in 2023
@Malith – it has a Feb 22nd release date here and I plan on seeing it.
My ranking of Bertolucci`s films that I`ve seen:
1. The Conformist MP
2. 1900 MS/MP
3. Last Tango in Paris MS
4. The Last Emperor MS
5 Best Performances
1. Brando- Last Tango in Paris
2. Trintignant- The Conformist
3. Lone- The Last Emperor
4. Schneider-Last Tango in Paris
5. Sutherland- 1900
Something else I’d mention in the stylistic traits section, Bertolucci’s mastery of colour in a similar vein to say Mike Leigh in Career Girls or Steven Soderbergh in Trafiic.
1900 and The Last Emperor both cover vast fifty+ year periods and the colour schemes match the eras getting darker. 1900 begins so vibrant and colourful with the warm green and yellow fields then once facism takes over the life of the land is drained and the countryside we are previously used to becomes so bleak, almost like a Tarr film, blacks dominate now.
The Last Emperor, Pu Yi as a child in the palace with the dominating yellows and reds then once he defects, leaves the forbidden city and is spied upon we are mainly in stark black and white rooms. He’s left the fantastical forbidden city and now lives in the less vibrant “real world’.
Little Buddha is a weaker film I debate whether should be in the archives or not, but even then the two worlds are divided by the colouring. Each scene in the States is shot with a strong blue filter on the camera that makes each scene look like Melville or Mann then the film shot in Asia uses gorgeous warmer natural lighting to create a more idyllic setting.
Not sure if you’ve answered this in the past so apologies if that is the case, but what are your thoughts on certain restorations? I know there is controversy surrounding the latest color grading of The Conformist (there was some similarly to WKW as well) and wonder what your opinion is. Many are saying it ruins the original version, I haven’t seen it yet but that would be a shame if that is true.
@Ce- depends on the restoration. I think there are some hits and misses (have not seen the latest for The Conformist) but old films have to be restored. I went to the large format Christopher Nolan backed 2001: A Space Odyssey where they though famously left it “analog” and unrestored and it was ugly – a thundering disappointment. Old film decays and needs to be restored. I had to watch the bluray version of the 2001 the following night (which was restored, and actually closer to the 1968 version– the 1968 version hadn’t been fading for 50+ years if that makes sense) to cleanse my palate and set things right with the world.
If I remember the latest restoration of In The Mood For Love received some harsh backlash, was just curious if it made a big impact either way for you
@Ce My last viewing was 2019- so I do not believe it was the restored version
Something I’d add to stylistic innovations/traits is Bertolucci’s preference for outsiders/vacation or travel movies. Brando (American) in Paris, Pitt (American) in Paris for the Dreamers, The Sheltering Sky, Stealing Beauty, Little Buddha all feature travel like that, even in the Conformist, Trintignant is going abroad for his work.
@Harry- Great add to the page here Harry- good work here
The Grim Reaper —
Before the Revolution HR
Spider’s Stratagem HR
The Conformist MP
The Last Tango in Paris HR
1900 R
Luna R
The Last Emperor R
The Sheltering Sky R
The Dreamers R
Hello this is my first time here and I have a question after watching apocalypse now for the first time I want to watch another great movie and I’d like to know what your list of most beautiful looking movies are since the conformist is a movie I might consider and it’s commonly called one of the best looking films ever.
@Dalton- thank you for visiting the site and the comment. “most beautiful looking” is a great question- not a list I have handy but certainly The Conformist would be on there, Barry Lyndon, 2001, Days of Heaven, Lawrence of Arabia, In the Mood For Love, Blade Runner, … others can chime in–and I always love checking out Tastes of Cinema for these sorts of lists – they have two actually here http://www.tasteofcinema.com/2017/the-10-most-beautiful-movies-of-all-time/2/ (includes Apocalypse Now) and this http://www.tasteofcinema.com/2018/the-20-most-beautiful-movie-masterpieces-of-all-time/ (includes The Conformist)
I’ve only seen 100 films so I’m relatively new to movies but out of those I’ve already seen blade runner and wow I love that film it’s in my top 20 and even then I feel like I should always move it up, anyways thanks for the list I’ve always wanted to see 2001 but on a big screen and sadly I live in a rural town so that’s quite hard.
About that shot at the top from The Conformist, it takes place in Paris and the professor and his wife are killed right afterward. Would that make it the Last Tango in Paris?
Yes, except it’s also their first tango in Paris too haha.
Well I suppose it was Clerici’s first tango in Paris… and also probably his last.
Going to watch the conformist for the first time, is it in italian?
@M*A*S*H- That is exciting! And yes- it is in Italian.
Just saw the Conformist for the first time as it just became available on Criterion Channel this month.
Wow is my initial reaction to the spectacular visuals and use of color, shadow, interior designs of buildings, etc. Just a clinic of mise en scène and cinematography. I actually watched it twice in a row, which I very rarely do, just because there was so much to take in visually that a single viewing wouldn’t do it justice.
The narrative was certainly fascinating as well although I will admit I was a little confused the first time not because the plot was hard to follow (it was actually fairly straight forward) it was just hard to understand the true motivations of the protagonist but maybe that was the point, he was quite literally trying to conform with what he considered respectable society. He was obvious a moral coward willing to do whatever he had to do to fit in with the power structure at the time which was of course fascism.
Since we are on the Bertolucci page. It is time to ask.
Often (and rightly so) Bertolucci and Pasolini, have been linked and compared.
I think you haven’t finished your study of Pasolini yet, but will Pasolini be ahead of Bertolucci on the list?
@Aldo- good question- I’d be guessing right now without going through the full process but if I just eyeball it- it does look pretty close. The resumes line up pretty nicely—- The Conformist, Last Tango in Paris and 1900 vs. Accattone, Teorema, and Salo…
did you watch 1900 in one sitting or multiple? As you usually watch movies with more than 4 hours, like Satantango, Dr. Mabuse. I worry if I watch a long movie in more than one sitting, I might ruin thr “experience” of the movie. I ask that to anyone in the site
The longest movie I myself (not Drake) have ever watched is Once Upon a Time in America, at barely under 4 hours, which I watched in one night. The experience was not ruined for me, I love that film to death. Watching movies much longer than that would honestly be pretty difficult however, at least for me.
I think it is suitable to watch movies, especially longer ones, in multiple sittings. If you have a general memory of the narrative and formal elements that have already been set up, I don’t think anything is ruined by splitting up the film.
Zane, have you never seen Gone With the Wind? I believe it is longer than OuaTiA. Lawrence of Arabia is only slightly shorter than Leone’s epic.
I have not yet seen Gone With The Wind. I of course plan to view it eventually but I don’t believe it’s in my immediate future at the moment. Currently doing the 60s (particularly Antonioni as of now) whilst also viewing unseen modern masterpieces, such as by Pawlikowski.
And yes, I am fairly certain it is 4 hours as well and Lawrence is 3 1/2. Both slightly longer and shorter than Leone’s film.
@Lucas Henriques – I did watch 1900 in one sitting– but certainly not Sátántangó from Tarr or Berlin Alexanderplatz from Fassbinder– I did try to block off consecutive days on my schedule to get them as close to one sitting as possible
@Drake. Apparently there are multiple versions, once i planned to see it but did not find the right version, so i left it for later.
What was the version you saw?
@Aldo- it has been years- I’m fairly confident it was not the 5+ hour version
Love to hear what someone who saw all of Berlin Alexanderplatz in one sitting thought of it.
@Zane– haha yeah– I’d admire the dedication
@Drake
I saw the 5 hour original version of 1900 few weeks ago on DVD. Highly recommend it, a must-see for cinephiles. One of the best epic movies i’ve seen so far.
Interesting debate, so i’ve seen all the movies that mention GWTW, LOA, OUATIA except (Dr. Mabuse) and it really doesn’t get heavy haha. All in one session.
I also saw satantango in a session, but it has intermissions so don’t worry. It seems to be like a kind of challenge between cinephiles to see satantango in a single session haha.
Yeah haha. It’s sort of become, like Salò, the “funny movie,” since it’s just so long and it’s become the movie that everybody knows for that reason alone even though they may not have seen it
Aldo
Did you like Satantango? Do you think it is one of the 100 best films of all time (it is 35 in BFI)? Would you recommend?
I also don’t think it’s very difficult to watch movies of four hours, but I’ve never tried a five hours movie (like: 1900). Did you see Heaven’s gate? Its a masterpiece.
@Lucas Henriques. Yeah, i liked.
Second answer. Hard to say, certainly Tarr’s 3 great movies seem equal in quality to me (Werckmeister Harmonies and The Turin Horse) none are drastically superior.
Third answer. No, unless you’ve seen The Turin Horse and Werckmeister Harmonies. If you managed to see those 2 movies the answer is yes.
Fourth answer. I haven’t seen it yet, sometimes i look for some movies but if i can’t find a suitable version or copy, i despair and leave it for later.
[…] 52. Bernardo Bertolucci […]
@Drake- Hey, I’ve been getting into Bertolucci recently (have seen The Conformist, Last Tango, Grim Reaper, and Last Emperor) and am quite liking his films (especially his two early 70’s films). Was wondering where you were able to watch The Spider’s Stratagem? I’ve been looking for this one everywhere but simply cannot find it (digital, blu ray, dvd, etc.) Nothing. Would appreciate your help on this. Thanks.
@Thomas Locke- so you may laugh but it was a VHS copy from New Yorker video back in the day- so it’s been a decade at least since I’ve seen it- I thought I did see it somewhere streaming recently— or on turner classic movies. But I can’t recall. I’m sorry. I’ll be looking for it again.
I’m not sure that the Sheltering Sky is a Must-See, and I was more impressed with some of his other films, but it is actually very eerie how I came on this page to comment the exact same thing: I think the Sheltering Sky is generally underrated. It encompasses pretty much everything that Bertolucci is known for and I thought it was a great visual and emotional journey, as carried by a grieving woman (excellent work from Winger and Malkovitch – if that’s how his name is spelled). I don’t think it’s a masterpiece, but nonetheless I felt the critics were unnecessarily harsh on this film.
@Georg– thanks for sharing. I look forward to my next study of Sheltering Sky even more now.
Please understand that this is not a comment about me stubbornly proclaiming an opinion which I think is universal and I really wish to understand. I usually see the how and the why between your grading system, even when I don’t agree, but there are some special cases and The sheltering sky is one of them. Never have I ever understood why this film is just “Recommend”, I can’t get how this is not at least a Must See and somehow I think there’s something I’m missing here.
Thank you very much.
@Help me find the truth – thanks for visiting the site and the comment here. I’ll say this- I haven’t seen The Sheltering Sky in a decade so I’m due for a rewatch so the specific details here for the reason it doesn’t land as one of Bertolucci’s best or 1990’s best are hazy (I last watched it before I took notes and started the blog). I’ll flip the question back to you– why do you think it is at least a Must See? Admittedly, the critics aren’t always right, but they’re with me on this one. The Sheltering Sky doesn’t land in the consensus They Shoot Pictures Don’t They top 1000 (they have 10 films from 1990 and Shelter Sky isn’t one of them).