Bertolucci did it again. Less 'red' than Reds (Beatty, 1981), unfortunately Novecento becomes very 'red' and sentimental in the last hour, but I guess that's to emphasize the emotional response to the ending of a war. The simplistic and propagandistic characterization of fascists in general (Donald Sutherland plays the caricaturally satanic embodiment of fascism and opportunism) didn't do justice to the subtlety of the rest of the story, but after all the story revolves around the friendship between aristocrat Alfredo and farmer Olmo. If you look beyond the few flaws, '1900' makes you wonder why only five Bertolucci films have hit the DVD plastic yet. Possibly that's because of the political engagement these tend to propagate in many (subtle) ways. One of the most obvious ways in '1900' is the quite in-your-face waving of the red flags near the end.
Vittorio Storaro (Apocalypse Now, il Conformista, Reds) did it again. Very subtle compositions versus shocking graphic violence and intimacy from time to time: in general it's more coherent and explicit than 'il Conformista'. Although 1900 is less poetic poetic than 'il Conformista', the great cinematographer found many instances to display his cinematic brilliance in the most appropriate way and let the eclectic cast come to justice. To name a few: Robert DeNiro (Taxi Driver '76!, the Godfather 2, Brazil, Raging Bull), Sterling Hayden (the Godfather 1, Dr. Strangelove, Asphalt Jungle, the Killing), Dominique Sanda (il Conformista), Stefania Sandrelli (il Conformista), Alida Valli (the Third Man, the Spider's Stratagem) and the young soldier Teodoro (Allen Midgette) in Bertolucci's first feature 'la Commare Secca' has a short but good appearance in Novecento for some reason. And last but not least Burt Lancaster (il Gattopardo, the Killers, Criss Cross) who continues his part from 'il Gattopardo' in a way.
Ennio Morricone (Days of heaven, Once upon a time in America) did it again. This time not yet as sentimental as Once upon a time in America: his subtle score carries some of the scenes and completes the film in an appropriate way, where the other film turns out to be overdone. Maybe he was glad to work with Leone again. Or something. Anyway, Morricone sure helps making the 5h10 movie watchable consecutively and in one sigh.
The epic story about lower and upper classes and the (metaphoric) fascination with animals was presumably an inspiration for 'Days of heaven' (Malick, 1978). FYI IMO 'epic' does not necessarily mean that it's a good film, but in this case it's a crucial aspect of the story. If Bertolucci had watched the Godfather (1972) and especially Godfather Part 2 (1974) a little closer, then he could have gotten the flaws out if this film (refers to the 310 min version). Sergio 'dollar trilogy' Leone did that better in 'Once upon a time in America' (again unfortunately also infinitely more sentimental). Concluding: il conformista meets the godfather? Not really, but still 9/10
Vittorio Storaro (Apocalypse Now, il Conformista, Reds) did it again. Very subtle compositions versus shocking graphic violence and intimacy from time to time: in general it's more coherent and explicit than 'il Conformista'. Although 1900 is less poetic poetic than 'il Conformista', the great cinematographer found many instances to display his cinematic brilliance in the most appropriate way and let the eclectic cast come to justice. To name a few: Robert DeNiro (Taxi Driver '76!, the Godfather 2, Brazil, Raging Bull), Sterling Hayden (the Godfather 1, Dr. Strangelove, Asphalt Jungle, the Killing), Dominique Sanda (il Conformista), Stefania Sandrelli (il Conformista), Alida Valli (the Third Man, the Spider's Stratagem) and the young soldier Teodoro (Allen Midgette) in Bertolucci's first feature 'la Commare Secca' has a short but good appearance in Novecento for some reason. And last but not least Burt Lancaster (il Gattopardo, the Killers, Criss Cross) who continues his part from 'il Gattopardo' in a way.
Ennio Morricone (Days of heaven, Once upon a time in America) did it again. This time not yet as sentimental as Once upon a time in America: his subtle score carries some of the scenes and completes the film in an appropriate way, where the other film turns out to be overdone. Maybe he was glad to work with Leone again. Or something. Anyway, Morricone sure helps making the 5h10 movie watchable consecutively and in one sigh.
The epic story about lower and upper classes and the (metaphoric) fascination with animals was presumably an inspiration for 'Days of heaven' (Malick, 1978). FYI IMO 'epic' does not necessarily mean that it's a good film, but in this case it's a crucial aspect of the story. If Bertolucci had watched the Godfather (1972) and especially Godfather Part 2 (1974) a little closer, then he could have gotten the flaws out if this film (refers to the 310 min version). Sergio 'dollar trilogy' Leone did that better in 'Once upon a time in America' (again unfortunately also infinitely more sentimental). Concluding: il conformista meets the godfather? Not really, but still 9/10