such a waste of time. why attempt carve the rushmore with the spoon? for the sake of it. that is what bertoluuci does in this movie. all the mobilised efforts fall somewhere in a void where useless spectacle strides in an airless aquarium. less unbearable than novecento though.
a masterpiece. there are so many elements at play here-the dark comedy rooted from Marcello's wife (and her naivete), the tragic drama of the plot, the film noir-esque look and suspense. the cinematography and art direction were marvels and made the film an utter visual feast and the characters (and actors of course) riveted me. the scene in the woods will be forever imprinted in my memory-such sad beauty
"A highly self-conscious and stylistically venturesome pinnacle of late modernism, drawing from ... a little neo-neorealism, a lot of stark and blinding Antonioni-style mise-en-scène, [and] some moments redolent of Fellini. And it was all framed within an evocation of the frivolous fascist-era film-making style derided by Bertolucci's generation as 'white telephone' cinema. - John Patterson, The Guardian
One of the biggest visual treats I have ever seen, I do love this film, but something is missing and I can't put my finger on it. Trintignant is fantastic, the blind birthday party is a classic, but when Dominique Sanda appears, something about her just throws me headlong into the 1970's and I can't get back into the film as I did prior. I just feel she was cast because she looks lovely but that's about it. Hmm.
The fact this was conceived in a linear fashion and then only broken up into the disruptive narrative shape we see in the finished film during the editing stage, just kinda blows my mind. One of the most gorgeously shot films. And Dominique Sanda is crushingly beautiful.