Bernardo Bertolucci

A Conversation with Bernardo Bertolucci (1966) – by John Bragin

The following conversation, or happening, as Bertolucci prefers to call it, took place in the middle of June 1966 when he was just beginning work on the script for his new film, Natura contra Natura. It is translated, slightly condensed, from a tape in Italian.

BERNARDO BERTOLUCCI’S 1900: HAIL, FOLLY! – Review by Pauline Kael

Bertolucci is trying to transcend the audience appeal of his lyrical, psy­chological films. He is trying to make a people’s film by drawing on the mythology of movies, as if it were a collective memory. 1900 is a romantic moviegoer’s vision of the class struggle—a love poem for the movies as well as for the life of those who live communally on the land.


Last Tango in Paris is an important film because of the way it deals with film history. By showing the inadequacy of and parodying two recent influential film styles, 1950s Hollywood and French New Wave, Bertolucci critiques and condemns the outmoded ideas and attitudes which informed these styles.

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