![]() ![]() ![]() Fleshing out novelist Alberto Moravia's shadow-box between political compliance and personal shame, Bertolucci created the most arresting mise-en-scène ever concocted for any movie, set entirely in rainy city afternoons and indigo evenings. Michael Atkinson in the Voice: "If you're a fledgling, Bertolucci's masterpiece - made when he was all of 29, and showing in a new print at both venues - will be the most revelatory experience you'll have in a theater this year. The Conformist, by the way, opens at New York's Film Forum on Friday for a week-long run. The most identifiable aspect of Bertolucci's films, their boldface Style often provided in large part by cinematographer Vittorio Storaro, represents his desire, from The Conformist on, to please audiences, while his dedication to personal and off-kilter content supplies the contradictions and friction that have kept his career engaging." Given this, to ask whether Mr Bertolucci still matters is to miss the irrefutable and obvious point that his films are part of cinema and, in this sense, have never not mattered."įor Justin Stewart, writing in the L, Bertolucci is "cherished as the questing international risk-taker who has so often seemed to be productively at war with his own instincts. ![]() It's an attempt to grapple with Italian history that, as is true of any work which enters the world, is now part of history. Since then, though, the praise has ebbed as has the urgency of the discussion concerning his work." So the question now is, "Does he still matter?" As she weaves her way through the filmography - and this is, of course, a must-read - she decides to close in 1977, with 1990, "something of a beautiful mess. There were more successes, including nine Oscars for his 1987 epic The Last Emperor. Two years later he was in Cannes with Before the Revolution. ![]() In 1962, at 21, he was an award-winning poet with a first feature, The Grim Reaper, at the Venice Film Festival. In the New York Times, Manohla Dargis reminds us that Bertolucci has been "an Italian bourgeois son in the 1940s, a French New Wave disciple in the 1960s, a venerated European auteur in the 1970s and a global art-house brand in the 1980s. It's a big day for lists, actually, but let's begin with MoMA's Bernardo Bertolucci retrospective, opening today and running through January 12. ![]()
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