Bernardo Bertolucci

Bernardo Bertolucci was an influential Italian filmmaker whose cinema often reflected his Marxist ideology and bold explorations of sexuality and desire. Bertolucci’s films, known for their sumptuous visual style and complex narratives, often intersected political critique and profound character study. His most notable works include The Conformist, Last Tango in Paris, and the Oscar-winning The Last Emperor. Bertolucci’s work was characterised by a distinctly international flavour, with films set across various countries, further highlighting his broad cultural and political engagement.

Bertolucci’s journey in cinema began under the mentorship of Pier Paolo Pasolini, another politically charged Italian filmmaker. His first directorial venture, The Grim Reaper, showcased the seeds of his evolving cinematic language, but it was with The Conformist that Bertolucci truly came into his own. This film’s rich exploration of political themes and psychoanalytical influences made him a unique voice in Italian cinema. This potent blend of politics and psyche would become a recurring motif in his work, accentuated by his bold treatment of human sexuality, as exemplified in Last Tango in Paris and The Dreamers.

A hallmark of Bertolucci’s films was his distinctive visual style. Collaborating with renowned cinematographer Vittorio Storaro on multiple projects, Bertolucci crafted lavish visual spectacles through intricate camera movements and aesthetic choices. The long tracking shots and intricate pans in The Conformist and the grandeur of The Last Emperor testify to this visual mastery. Moreover, his films often paid homage to other filmmakers, enhancing their narrative complexity and enriching their cinematic texture.

Visualising Desire and Dissent

Bertolucci’s films also stood out for their narrative complexity. He often veered away from linear storytelling, opting for intricate character studies, ambiguity, and open-ended narratives that left ample room for interpretation. His deep interest in Freudian and Jungian theories heavily influenced his character portrayals, with internal struggles forming an essential part of his narratives. This psychoanalytical perspective, combined with his exploration of sexuality, rendered his films both intellectually challenging and emotionally poignant.

His consistent collaboration with a trusted team, including Storaro and composer Ennio Morricone, ensured a coherent style and tone across his films, further solidifying his unique cinematic identity.

The audacity and richness of Bertolucci’s cinema have significantly influenced filmmakers worldwide. Directors such as Paul Schrader and Luca Guadagnino have acknowledged his impact on their work. Bertolucci’s seamless blend of political themes, bold exploration of sexuality, stunning visual aesthetics, and narrative complexity have left a mark on film history.

Bernardo Bertolucci (1941 – 2018)

Calculated Films:

The Conformist (1970)
Last Tango in Paris (1972)
1900 (1976)
The Last Emperor (1987)

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Bernardo Bertolucci’s Top 10 Films Ranked

1. The Conformist (1970)

Genre: Psychological Drama, Political Drama

2. 1900 (1976)

Genre: Period Drama, Epic

3. The Last Emperor (1987)

Genre: Biographical, Period Drama, Epic

4. The Spider’s Stratagem (1970)

Genre: Mystery, Psychological Drama

5. The Dreamers (2003)

Genre: Coming-of-Age, Drama

6. Before The Revolution (1964)

Genre: Drama, Romance

7. Last Tango in Paris (1972)

Genre: Psychological Drama, Erotica, Romance

8. Besieged (1998)

Genre: Romance, Drama

9. The Sheltering Sky (1990)

Genre: Drama

10. La Commare Secca (1962)

Genre: Mystery, Drama

Bernardo Bertolucci: More Than Pasolini’s Protege

Bernardo Bertolucci was a firebrand who merged raw emotion with delicate sensuality. Born on March 16, 1941, in Parma, Italy, the son of a poet and a teacher, Bertolucci grew up in a household where art and literature were not just appreciated but revered. Poetry was the family’s lifeblood, and young Bernardo’s initial steps were in this direction. But under the tutelage of Pier Paolo Pasolini, he found the pull of cinema intoxicating.

Working as an assistant director on Pasolini’s Accattone, Bertolucci became a member of Italian cinema at its zenith. Like many directorial debuts, The Grim Reaper wasn’t the full article, but it hinted at what was to come with its probing exploration of reality and subjective experience. It was Before the Revolution that announced his true arrival. Here was a young director, unafraid to dissect politics, love, and ideology with the surgical precision of an artist who knows no boundaries.

As the tumultuous ’60s raged on, Bertolucci’s cinematic voice grew stronger. He wasn’t there to placate or to conform; he was there to challenge, to provoke.

Consider The Conformist, a film that tore apart the facades of fascism and laid bare the soul of Italy during one of its darkest periods. Jean-Louis Trintignant’s portrayal of Marcello, the protagonist, wasn’t just an act; it was a revelation. Under Bertolucci’s direction, every nuance was extracted, every emotion magnified.

Bertolucci’s exploration wasn’t limited to the political sphere. He was equally adept at delving into the intricacies of human relationships, sexual identity, and personal trauma. The film Last Tango in Paris is perhaps his best example of this. Marlon Brando’s performance under Bertolucci’s watchful eye was not just a role; it was an exorcism of pain, love, and loss. The film sent shockwaves through the industry, and its unflinching portrayal of sexuality remains a defining moment in cinema history.

This phase of Bertolucci’s career was marked by a restless energy, an urge to innovate, to disrupt, to question. His films were his canvas, and he painted them with the hues of existentialism, Marxism, and psychoanalysis. No topic was off-limits, no question too uncomfortable.

His defiance was not just thematic; it was visual, too. Teaming up with the legendary cinematographer Vittorio Storaro, Bertolucci crafted films that were visually breathtaking. Every frame was a work of art, alive with meaning, pulsating with emotion. His collaboration with Storaro gave rise to some of the most visually arresting moments in film, such as the stunning sequence in The Conformist or the epic sweep of 1900.

The 1970s were a period of growth and maturity for Bertolucci. He became a notable name, and thanks to the controversies of Last Tango in Paris, he became a controversial one. Films like 1900, an ambitious, sprawling historical drama, showcased his willingness to take risks and push boundaries, even if it meant clashing with producers and censors.

As the decade progressed, Bertolucci’s vision broadened, and he ventured into new territories. The influence of his Eastern philosophy studies began to permeate his work, bringing a newfound serenity and depth. The Spider’s Stratagem and Tragedy of a Ridiculous Man were marked by this transformation as they wove a more reflective, nuanced tapestry.

But it was a journey to the Far East which led Bertolucci to a new horizon. It was The Last Emperor, a magnificent opus that transported audiences to the Forbidden City, chronicling the life of China’s final monarch, Pu Yi. Bertolucci’s meticulous attention to detail and his ability to blend historical grandeur with personal intimacy elevated the film into a class of its own. It wasn’t just a biopic; it was a sweeping journey through time and culture. The film earned nine Academy Awards, cementing Bertolucci’s status as one of cinema’s true masters.

The Last Emperor marked a turning point in Bertolucci’s career. His films of the late ’80s and ’90s were characterised by a more subdued but equally profound exploration of identity, desire, and spirituality. The Sheltering Sky and Little Buddha were reflections of a director constantly evolving, unafraid to infuse his work with philosophical musings and spiritual wanderings.

However, the unyielding brilliance of Bertolucci was not without its trials. His restless pursuit of authenticity often led to clashes with studios and actors. He remained a figure of controversy, his work frequently polarising audiences and critics alike. His refusal to compromise, both in his artistic vision and his political convictions, often placed him at odds with the mainstream, while his turn towards the subdued alienated the more devoted followers of his early work.

But in Bertolucci’s world, cinema was never about conformity; it was about confrontation. Whether exploring the raw sensuality in Stealing Beauty or delving into the depths of psychosexual complexity in The Dreamers, he was a director who pushed the envelope, challenged norms, and shattered expectations.

Bertolucci’s exploration into different genres was fearless, much like his mentor, the great Italian poet and director Pier Paolo Pasolini. From the intense political drama of The Conformist to the surrealistic reflection of Partner, his films defied easy classification. This refusal to be boxed into a single genre or style made him an enigma, a creative force that kept audiences guessing.

Entering the new millennium, Bertolucci continued to innovate. Though his pace had slowed, his passion remained undiminished. Films like The Dreamers and Me and You were imbued with the same raw emotional intensity that marked his early work, but they never quite connected with critics in the same way. Despite the lesser fanfare his latter films received, he was still often cited as an inspiration by the filmmakers that followed him, including Paul Thomas Anderson and Wong Kar-wai.

In his final years, Bertolucci’s struggle with health and the ever-changing landscape of the film industry did not deter his passion. His last film, Me and You, was a return to his roots, a poignant reflection on youth and longing. When he passed away on November 26, 2018, Bernardo Bertolucci left behind a legacy that was vast and profound. His body of work is a testament to his unrelenting creativity, revolutionary ethos, and unparalleled passion.

Most Underrated Film

Bertolucci had a long, rich career; he certainly had his fair share of duds, but he also had successes from his first movie to his last. It’s perhaps odd that The Spider’s Stratagem is considered underrated; it was made during the height of Bertollucci’s fame, just after The Conformist. This was his best period. Yet this 1970 surrealistic political drama remains rarely mentioned.

The Spider’s Stratagem tells the story of Athos Magnani Jr., who returns to his father’s hometown to unravel the mystery of his assassination. It’s an intricate web of intrigue and deception that leads the audience into a maze-like narrative, reflecting the confusion and contradictions of Italian politics of the time.

Some of the most memorable moments of the film include the stunning visual compositions and dream-like sequences that blur the lines between past and present. The scene where Athos encounters his father’s old lovers, each recounting a different version of the past, stands out for its surreal quality. Bertolucci’s use of mirrors and reflections, both literal and metaphorical, creates an eerie, unsettling atmosphere that sticks with the viewer.

However, the film’s complexity and non-linear storytelling have also led to some criticisms. The dense symbolism and abstract narrative structure have been cited by some as overly confusing, lacking the emotional immediacy of Bertolucci’s other works. Others have argued that the film’s political allegory feels somewhat detached and cerebral, lacking the visceral punch found in films like The Conformist.

Yet, it’s this very distinctiveness that makes The Spider’s Stratagem a fascinating piece in Bertolucci’s oeuvre. It’s a weird outlier that diverges from his more conventional narratives, experimenting with form and content in a way that few of his other films do. The film’s expressionistic style, coupled with its thematic exploration of memory, myth, and political manipulation, makes for a one-of-a-kind watch.

Bernardo Bertolucci: Themes & Style

Themes:

Sexual Exploration and Identity: Many of Bertolucci’s films delve into human sexuality and identity. From Last Tango in Paris to The Dreamers, his characters often struggle with sexual desires and self-discovery, reflecting broader societal tensions.
Political Ideology and Revolution: As a self-proclaimed Marxist, Bertolucci was interested in exploring political ideologies. Films like The Conformist and 1900 are dense with political themes, portraying characters caught in ideological conflicts.
Psychological Complexity: Bertolucci’s characters are often tormented by their past, trapped in a complex psychological web. This theme is especially prominent in movies like The Spider’s Stratagem, where memory and reality intertwine.
Cultural Exploration: Films like The Last Emperor and Little Buddha showcase Bertolucci’s fascination with different cultures, providing a rich, nuanced portrayal of diverse civilizations and historical contexts.

Styles:

Visual Poetry: Bertolucci’s films are renowned for their visual beauty. He had an eye for composing shots that were as poetic as they were cinematic, using colour, light, and shadow to create emotive landscapes.
Non-Linear Storytelling: Bertolucci often played with time and narrative structure, creating complex, non-linear stories that challenge traditional storytelling norms. The Spider’s Stratagem is a prime example.
Sensual Imagery: There’s an inherent sensuality to Bertolucci’s visual style. His camera doesn’t just observe; it caresses and explores, adding a tactile quality to the visual experience.
Collaboration with Noted Cinematographers: Bertolucci often collaborated with renowned cinematographers like Vittorio Storaro, crafting visually striking films that remain etched in memory.

Directorial Signature:

Emotionally Charged Direction: Bertolucci’s directorial signature lies in his ability to infuse every frame with emotion. Whether it’s raw sensuality or political fervour, his films resonate on a deeply emotional level.
Combination of the Personal and Political: He masterfully wove personal stories with political themes, making his films both intimate and grand.
Uncompromising Vision: Bertolucci’s unwillingness to compromise his vision, even in the face of controversy or commercial pressure, marked him as a true auteur. His films bear the imprint of his singular vision and artistic integrity.
Interplay of Reality and Fantasy: Bertolucci’s films often blur the lines between reality and fantasy, dreams and waking life. This surreal quality gives his work a unique, dream-like resonance.

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