very picturesque, pointing at many painting techniques, the film is like a long walk through a museum, it did in the 70s what "girl with a pearl earring" did 30 years later: tried to find in the landscape the natural occurences of colours and hazes that determined a whole national painting school. but despite its beauty, at the end you feel like you've only peeped into an academist collection: pretty but empty.
(1.5 | 35mm) o olhar de Bertolucci é um aborrecimento, impondo a sua futilidade e apaixonando os impressionáveis. Não tirou nenhum ensinamento do neorrealismo italiano, que lhe pouparia a alguns embaraços, como por exemplo o casting de merda, excepto Depardieu, talvez, e as mamas e os pénis. Não há nada de revolucionário neste filme que se compraz consigo mesmo. Mesmo assim, a última hora é menos sofrível.
In my 'perfect' films list, which currently contains 4 films. De Niro, Depardieu, Sutherland and Sanda (whose performance reminded me of Sharon Stone in Casino) were flawless. Bertolucci is fantastic. Storaro is my favoruite cinematographer and pulls off what may be his best work here. Morricone's score is my favourite of all time, and the story is beautiful.
I think the depravity of Sutherland's Attila was more of a personal characterization used to explore the "anarchy of power", an idea best expressed by Pasolini (a predecessor and mentor to Bertolucci) in his film Salo. Attila's sadistic and Machiavellian aspects become more apparent when the fascism of Italy becomes more predominant, allowing him to further express these sides of himself.
oh so very very overlong and baggy, really bad dubbing, uniformly awful dialog, an awful lot of terrible acting (with the exception of Sutherland, Lancaster, Hayden and Valli - everyone else, rubbish).. at least it looked fantastic and had rather good enough politics, that's really the best I can say, oh and for a 5 hour long film it wasn't very boring..
A magnificent, sweeping fresco intertwining many great themes: country with family, loyalty with guilt, crumbled friendships, crossed honour, etc. Yet like many great group portraits it lacks an obvious centre and doesn’t quite add up to a conclusive whole. You cannot condense a country into the head of a pin. Novocento has epic intent, but very human constraints.
The combination of Storaro and Morricone alone makes it worth the watch. Add De Niro, Depardieu, Hayden, Lancaster, and Sutherland and you have a near-masterpiece in which Bertolucci captures the gaze of the first half of the 20th century, both politically and cinematographically. And I think the dubbing criticism is unfair. We don't look down on Leone's films for their lack of synchronized sound, do we?