To the death of the director Bernardo Bertolucci


Whow is it? Did he write history with his work, shaped a style, founded a school? Are we going to remember him by his epigones? To what extent do these issues arise when an artist dies – on the scale of the world, his time, the taste of his best years or the latest headlines?

Verena Lueken

Bernardo Bertolucci had a style of visual opulence that he could not always play with kitsch, a style that absorbed color, the red of a desert, the blue of a night under the pale moon, and which remained flexible as if the director wanted his story and Give space to people, change, evolve or become increasingly entangled in a destiny, that he, the filmmaker, with his growing interest in the possibilities of psychoanalytic interpretation, likes to direct, sexuality, what is forbidden for her, incest between generations or brothers tied back. He made history on a worldwide scale – "The Last Emperor" was the first film of a Western filmmaker made with the permission, money and blessing of the Chinese government that was in 1987 and won nine Oscars – and he also filmed in Europe, Hollywood, which did not was common at the time. In this respect, the breadth of Bernardo Bertolucci's work is immense. Thematically, but within this immense framework, it is often similar: very young women with little and men in the fascist corset and dreams – even of a new politically sensual cinema, which linked it to the French Nouvelle vaguely.

First example of a male art

The film, for which Bernardo Bertolucci became famous, dates back to 1972. That was early in his career, and did not hurt her, even though "The Last Tango in Paris" was rated by youth as pornographic and the director in Italy, where all copies of the film were destroyed in a court order, temporarily costing them civil rights. After times became more permissive, the film was labeled "iconic for the cinema of the Seventy," before, finally, in the next millennium, it became infamous as a prime example of the art of a man, by Maria Schneider , his main actress, of surprise, humiliation and scorn Destroyed in a rape scene.

"The Last Tango in Paris" is not a particularly good film, which was acknowledged until then, when the dignity of the woman was not so much, especially when she was only nineteen, like Maria Schneider at the time of filming. For example, the "New York Times" has already called the film "the perfect novel" in its debut.

Photo gallery

Does this film and the story of its creation contaminate Bertolucci's work and contaminate Maria Schneider's life? Either way, the perception does not remain unchanged. And so it seems that the best Bertolucci films are those in which women do not play a very large role and therefore are safe.


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