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?
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.
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.
He was neither understood nor loved by this
"The Great Mistake" with the unsurpassed Jean-Louis Trintignant in the leading role of the conformist, who uses fascism as his suit (as Albert Ostermaier put it in this newspaper) is probably Bertolucci's best movie with the "Novecento" movie he translates the disorientation of his figure in a pictorial language that leads through the chronological jump back and forth in the midst of the shadowy landscape of his main character's soul. And in "Novecento" (1976), his great Italian epic, he, who was a Marxist, once again created a film people with Emilia Romagna farmers with authentic faces next to international stars, alongside Burt Lancaster, Robert of Niro. Donald Sutherland. He was not understood or loved by that. Both came later, with honors of the great festivals of Europe, recognitions that its tutor and model Pier Paolo Pasolini never obtained.
His middle-class educational background – his mother taught literature, his father was a well-known poet and he wrote reviews of films – as well as his initial Marxism linked him to Jean-Luc Godard, whom he adored, who was not reciprocated to the same extent . But she also showed in the models of his scripts, which he at least co-authored himself at least. He filmed Dostoevsky ("Partner", 1968) and Borges ("The Spider's Strategy", 1970), Morovia ("The Great Mistake", 1970) and Paul Bowles ("The Sky Over the Desert", 1990), and At the same time, in books, however different their themes, their obsessions have always been rediscovered: sex and revolution, as the artists of the 1968 revolt imagined.
"The dimension between the images is the hour of the dream of the cinema." With this at first glance puzzling, Bertolucci has already expressed what leads him to continue working, even in recent years, in a wheelchair. The logic of the dream was its beginning. On November 26, Bernardo Bertolucci died in Rome at the age of seventy-seven.