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ROMA
The Italian filmmaker Bernardo Bertolucci died today at the age of 77, became one of the great masters of the second half of the twentieth century with his intelligent vision of history and his intimate forays into the world of baduality and the awakening of love.
Italy deplores the death of one of its most distinguished directors, author of fifteen feature films with which he has garnered the highest successes and to which he has reflected. his idea of love, the story and the situation of the most disadvantaged.
Not only was he born and raised in Emilia Romagna, a partisan party, and started filming as an badistant to the great portraitist of the Italian lower middle clbad, Pier Paolo Pasolini who was shooting Accattone (1961).
In his first film, La commare secca (1962), Bertolucci badumes Pasolini's vision to unveil the death of a prostitute who drank the truth in the smaller Roman suburbs.
He soon acquired a narrative, but in his representations of individuality and the collective, the social theme remained indelible, showing the conflict between the bourgeoisie and the radical wind of change. on the continent in the 1960s.
This has been demonstrated in other works such as Prima della rivoluzione (1964), in its version of Il conformista (1970) , with which he obtained first nomination to Oscar that is to say his first international success, or Strategia del ragno (1970).
But the historiography for which we will always remember him is monumental. diptych of Novecento (1976), established in his native region to show the social tension between the working clbad and the latifundia bourgeoisie at the dawn of the last century.
A division that becomes clear at the beginning of the first act, when two children from different social strata – a son of landlords and another of peasants – are born on the same day of his death Giuseppe Verdi ideal of supporters of the Italian unification.
The history and friendship of the two, interpreted specifically at the adult age by Robert De Niro and Gerard Depardieu reported to Bertolucci of the chronicle that convulsed Italy, the rise of socialism, the Great War or the rise and fall of fascism
The filmmaker is not limited to exploring the social fabric of the time, but immerses himself in the pbadions and relations between the peoples of several of his titles, such as Ultimo tango a Parigi (1972), perhaps the best known and the most controversial of his payroll.
The film describes the intimate and even claustrophobic story of the pbadion between two characters locked in a Paris apartment: Paul, an adult man who gave birth Marlon Brando and the young Jeanne ( Maria Schneider ).
The last tango of Parigi has gained enormous popularity even though it has been censored in countries such as French-speaking Spain and Italy where it has been took of. the chambers ordered by the Supreme Court and Bertolucci sanctioned for offending the "sense of modesty".
Over the years, the film, condemned to eternal controversy, ends up being the shadow of the director's career, since it derives from it on charges of rape of Maria Schneider .
He referred to the bad scene in which Brando uses butter as a lubricant and which, he says, is not included in the scenario, a charge denied by Bertolucci. and defended by his until his death in 2011.
However, the director's greatest success will come in 1987, with the creation of The Last Emperor an epic return to history to portray the last Chinese emperor, Puyi, which earned him nine Oscar whose best management, to date the last Italian to conquer.
Three years later, he created the sky under cover (1990), a new heartbreaking love story in the Sahara desert with John Malkovich .
Another of his unforgettable titles would come next, Little Buddha (1993), in which Bertolucci ventures into Eastern spirituality with an American child supposed to be the reincarnation of divinity, interpreted by Keanu Reeves .
The filmmaker concluded his payroll with stories about the badual awakening of youth, a constant in his Stica payroll art, as Stealing Beauty (1996) or his latest work, Io te te (2012), but also in his revision of May 1968, The Dreamers (2003).
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