Probably one of the best movies I've ever seen. It is a technical masterpiece with some of the best light and shadow work I've ever seen. Every frame is perfect with a lot of thought put into camera angles. The story is really good too and sucks you into it head first.
Beautifully shot and remarkably well-crafted. Bertolucci earns his reputation by enveloping us in a tragic tale of an emotionally wounded man struggling between his troubled past, complicated present and desire of a blissful future. The artistic direction is quite stunning as is the use of light and color selections. The bad dubbing is my only knock on it, but overall, this is a heartbreaking and fascinating film.
Great film, but it's reputation left me wanting a bit more. Storaro's cinematography is the main reason to watch, as it is art of the highest caliber. The story though, while admittedly interesting, felt a bit cold, distant, and removed. Perhaps this was the intention, but I can't help feeling the film misses classic status as a result by a hair's length. Still, a film that comes very close to perfect. 4.5 stars
Amazing visual aesthetic. This story is much more than a film about a secret agent, it is a film of inner thought, and how one can feel so lost in the world, but appear together by outside viewers. The struggle of sexuality and belief systems are powerful topics that add layers to the main character and the story as a whole.
One of my all-time favorites, though the best way to watch it is on the big screen with the proper aspect ratio. Brilliant humor and terrifying sadness. This time I noticed how the women calling "Marcello" sound like all the women calling "Marcello" in "La Dolce Vita." And all the animal furs & dogs---a meditation on man as beast and man vs. beast.
4-5. Has an absolutely brilliant handle on visual language, from basic bits like guns as phalluses and nudity as authenticity to more ephemeral ideas like flickering/blinking light reflecting the self bobbing above and below the surface. Its approach to its female characters is a tad sketchy (that first kiss assault towards Anna), but manages to rebound pretty well, especially in its ending. Magnifique, overall.
Quite good, but for me, not as good as it's reputation suggests. Storaro's cinematography is incredible and the film is worth watching as pure visual art. The main story itself is an interesting blend of political thriller and a psychological examination of it's main character, an exploration his desire to conform. Presumably this was the point, but while it was very stylish it felt a little too cold and sterile.
Narrazione con un andamento non banale, né conciliatorio, ma che porta avanti un dramma umano in un contesto difficile. Il protagonista, per essere come gli altri annulla la propria identità. Finale bellissimo in cui lui dimostra di aver perso la propria identità. La regia stilisticamente invidiabile, con inquadrature stupende e visivamente curate. Personaggi ottimi con una psicologia fantastica.Fotografia bellissima
El fascismo italiano en un caso, la de un hombre que simpatiza por querer ser un ciudadano del "lado correcto". Bertolucci provoca la rutina de entonces mediante un simbolismo espacial (inmenso y sofocante), una sociedad ciega, loca y castrada; en tanto, los no conformistas, viviendo el exilio. La amante de sexualidad no reprimida, distinto al protagonista, habitando en la caverna, niega su pasado pos a la normalidad
A very transgressive film about conformity, a very stylish film about the sterile, a very political film about blind patriotism and a very erotic film about abuse: "Irony is the gaiety of reflection and the joy of wisdom." Especially where Bertolucci is concerned. Cinematography and atmospherics are truly luscious; few filmmakers today have the balls to give the camera this much agency.