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

2018-11-27T17:44:30+00:00November 27th, 2018|CINEMA|

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

2018-01-20T12:31:28+00:00January 20th, 2018|CINEMA|

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.


2017-11-12T18:38:19+00:00November 12th, 2017|CINEMA|

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.

LAST TANGO IN PARIS (1972) – Review by Bosley Crowther

2017-08-23T11:51:59+01:00August 23rd, 2017|CINEMA|

by Bosley Crowther The vast attention that Bernardo Bertolucci’s Last Tango in Paris received while it was several months in the making and when it opened in the fall of 1972 was not due to the prospect of its being a likely worldshaking film. It was because Marlon Brando was [...]