[Originally published in The Weekly (Seattle), October 30, 1979]
Cinema comes so naturally to some filmmakers. Bernardo Bertolucci once revealed that he dreamed camera movements years before laying hands on a camera. But even without this confessional nudge, his aptitude for the medium, his kinesthetic thrall with luminosity, surfaces, colors, trajectories, is apparent in the films he has made. Opera has been a frequent touchstone in his work, existentially and aesthetically, but he doesn’t need it as a brief for grandiosity or vividness of style: it is as natural for Bertolucci to soar as it is for others to walk.
[originally published in a booklet for the DVD release of Partner by NoShame in 2005]
The political and the sensual meet in the cinema of Bernardo Bertolucci. His visually dense and stylistically labyrinthine films are among the most beautiful — and the most provocative (The Last Tango in Paris) — ever made.His career straddles canvases both epic (1900,The Last Emperor) and intimate (Luna, Besieged), from defiantly Italian stories that reverberate with the echoes of Italy’s Fascist past to international dramas that explore culture,history, and spirituality around the world. All of them are beautifully crafted works attuned the texture of experience and the magic of the moment.
[Originally published in Movietone News 64-65, March 1980]
Luna is just a word, a magic word, by means of which everyone can project his or her own dream. The moon, of course, is a very rich symbol, but the only reference to it I‘d accept is the simplest one: just as the moon has two faces, so every character and situation in the film has two faces—that which appears and that which is hidden.
—Bernardo Bertolucci in Sight and Sound
Luna is, in a very important sense, a surrealist film which makes use of the stylistic possibilities opened up by Buñuel in the 1960s. Belle de jour, for example, used a basically realistic mise-en-scène for all of its sequences: dreams, fantasies, and flashbacks were permitted to exist on the same plane with everyday experience; no perceptual reality, no level of experience, was treated as more (or less) real than any other. Advancing the surrealist attack on the conventional distinction between dream and reality, Buñuel demonstrated that matter-of-fact realism is much more appropriate than expressionistic exaggeration in presenting the basic validity of surrealist perception.
Luna, in turn, might be viewed as a seamless blend of realistic narrative and surrealist psychology. In Belle de jour, one can still deduce that some scenes are dreams and others are not—though the film’s stylistics render this process comparatively irrelevant. But in Luna, Bertolucci extends this ploy even further: no scene is clearly marked as a fantasy or dream, and none is entirely free of the irrational associations and impulse that we customarily link with the world of dreams. With or without the director’s public statements about the film’s conception springing from his own dreams and memories, Luna‘s events are simultaneously the stuff of dreams and the stuff of realistic drama.