Contents page 1 — A revolutionary of the pleasure of looking page 2 — His most famous Film, the most controversial was On a page
read return As Isabelle and Matthew the night of her Rendezvous home, make a discovery which will take your breath away. Debris piled in the middle of the street to a big pile. They are a Remnant of Chaos and devastation, the cause of the protagonists of Bernardo Bertolucci’s guess The dreamer but for the time being.
you may not know that these are the Remains of barricades and in France in may 1968 a General strike, the garbage disposal followed. The revolt remains an atmospheric Background, red flags are to be seen in the erotic play, only very rarely. Your apartment is no longer have to leave Matt and Isabelle for weeks; watching television is prohibited, as is your passion belongs exclusively to the cinema. It acts like a worn-out responsibility, if you missed the big historical events because it is busy with its own little problems. But in The dreamer, the life lessons in the movies to be learned.
Private tell so that Political to the fore
The Paris may, the Italian film-makers were not able to experience himself, because he turned to this time in Rome. Nevertheless, The dreamer carries the seal of quality of personal experience. As Bertolucci at the age of his movie characters, he was a regular at the Cinémathèque française. In the care of the film Museum he experienced, as in the 1960s in Paris, the views of the cinema was invented. Bertolucci could have made a fresco of the student revolt, but opted for a more intimate perspective. This is a challenge, this Director took in again and again: to tell the Private, the Political comes to the fore. The cinema was for him an Instrument, engaged in the world.
The contradiction between individuality and conformity and transgressive game with the sexuality since his directorial debut, La Commare secca, 1962, wherein he tries to marry the film with the Film Noir, through his entire oeuvre. At the age of 15, he shot his first short film, at the age of 20, he published a first book of poems. Finally to the movie theater, the Parma-born Director came when his father, the Poet and occasional film critic Attilio Bertolucci, Pier Paolo Pasolini made known. He attracted international attention in 1964 in Cannes with the political parabola of Revolution. In it, he demonstrated a clear-sighted Contemporary, decorated its social findings, but at the same time, with quotations and References. Bertolucci became embroiled in the cinema, from the beginning, in a dazzling communing with the other arts, of architecture, painting, literature and music. The reflection on the conditions of his medium, he continued incessantly about when he had Paul Bowles, the author of the novel the sky over the desert, carefully watching as his literary characters a life of their own, new take shape in the game the performer and by the look of the camera.
the cinema was the gap between the content and the style wacker. At its best, has succeeded in this honest manieri to unite most, formal experiments with the opulent display values. He was a master of cinematic Resonance, the mind, ideas into symbols to be translated – what other Director would have turned Plato’s allegory of the Cave in such a way bewitch you sometimes in a metaphor for the cinema, as he did in The great mistake? With him, one of the aesthetically most influential movies of all time, he turned to 1970, visual opulence, and sometimes Opera will be liable melodrama. With The last Tango in Paris Bertolucci international became a brand; often, he was accused of since the calculus with scandal-prone materials.
