Director: Bernardo Bertolucci
Year: 1964 Country: Italy Gene ro: Drama / Politics Score: 08/10
Cast: Francesco Barilli , Adriana Asti, Allen Midgette, Cristina Pariset, Morando Morandini, Giuseppe Domenico Alpi and
Maghenzani
After his controversial debut film "Sterile Harvest" (1962) with script the great Pier Paolo Pasolini, Bernardo Bertolucci made with "Before the Revolution," his first movie author, recounting a story of inspiration strongly autobiographical in that combines the passion and ideology. The protagonist, Fabrizio (Francesco Barilli), has twenty years and is the son of a wealthy family of Parma, but rejects the bourgeois atmosphere that must therefore be committed politically to the left and joined the Italian Communist Party. In his new concept of life there is no room even for Clelia (Cristina Pariset), a bride almost imposed by the family, to which Fabrizio leave to pursue their ideals. But IE suicide of his friend Agostino (Allen Midgette) further exacerbated the ideological disorientation and existential Fabrizio, only Gina (Adriana Asti), his young aunt who has come to Milan to cure his nervous breakdown, understands the crisis of youth. Between the two, despite their profound diversity of temperament and outlook on life, comes a love story that is suddenly interrupted when Gina decided to return to Milan.
Bertolucci made with "Before the Revolution" a cult film, rich in literary evocations and suggestions, the "Charterhouse of Parma" by Stendhal , which mimics the principal characters Fabrizio, Gina and Clelia, Pasolini's poetry to the protagonist recites the beginning of the film Wilde to Proust, to Pavese, evoked in the character of Cesare (Morando Morandini). Furthermore, it is a profoundly musical film, both through the images that enhance the landscapes of Parma Area, and by the use of music by Ennio Morricone, the songs of Gino Paoli and "Macbeth" by Verdi before the end. While the stylistic level the work is fed both Pasolini film's poetic realism and the French, there are also numerous references and quotations with which the director outlines his own cinematic horizon, which includes authors such as Rossellini, Renoir and Hawks. Fabrizio and Gina did not seem to understand that this revolution passionate seeking must be personal, that wall is inside and that is unlikely to topple seeing it as something external, therefore embark upon a desperate search of activity and commotion, objectives and companies outside themselves, to keep always in motion, distracting the awareness of being stagnant.
Fabrizio, Gina, Clelia, operate in the manner of a love triangle that represents the metaphorical search of the ideal, the confrontation of two concepts of morality determined not to be understood. Bourgeois purposes as opposed to the communist motivations determine the attitude of Fabrizio, which resignation and mold conformity final reading of history which applies, in large part to the times. Parma is a character who has inherited the humanists, their representative will outline Clelia, nonexistent, inseparable from the city and receives by far the spectacular manifestations typical of the city, church and theater, in the mass and Opera. Parma will be all which is the "Tower of Parma" for Fabrizio and Clelia is also the jailer's daughter. In this town-jail-cell family, the old bourgeois apartment, filled with aisles, crammed with his horrible upholstered furniture that are a cut inherited and occupied by relatives living as mere furniture and taking daily naps like a death.
is understood that in the eyes of young Parma Fabrizio change changing the world be equally tempting to hunt the white whale through the five parts of the world. But the revolution is a white whale? That is the whole problem. God knows if Fabrizio is displayed with goodwill! But a prisoner of his environment, will never be the man again, his future lies in its bourgeois past, he is the victim (after all consequential) of certain life comfortable this sweetness comparable to that of the old regime before 1789 and what Talking Talleirand (cited by Bertolucci as evidence for his film), "who has never known life before the revolution has not known the sweetness of life." It depends, because obviously that Fabrizio is enjoy it, that nasty, this sweetness paralyzing. Numbed by the feeling of failure, although it has been sensitized to their story of impossible love with Aunt Gina, is poisoned by the nostalgia of this. Hence the vertigo, especially fear and helplessness that leads to his friend Agostino to death, and he, Fabrizio, marriage as a suicide. The final triumph of Italian bourgeois order is symbolized by the sound of a Verdi opera, the "bel canto" becomes in the sign of a class culture, the "nec plus ultra" of a fun class, as most of the art and the mundane.
Throughout the film we see the characters desperate for his revolution, trying to force and try a thousand ways, but that never comes, so comes the assurance that we have peaked, "always is before the revolution when you're like me, "and of course come to despair. The complaint policy is not worth more than its absolute objectivity, and documentary, of unquestionable honesty. Or the absolute sincerity. The truth, the harsh truth, we will get through more Beyond the distortions imposed by the lyricism. One of the strengths of the film is its lyrical strains help us understand. The impressive close-ups to exalt faces painful lucidity of psychological analysis, the beating of the camera, its lapses, its sometimes frenetic agitation "sing" the development and impatience with the spell, before the march in pose, the regularity of some tracking shots that do not indicate the return of calm and resignation. The beauty of many shots, often beautiful refinement (glare, very white soles in early spring, light hits adolescence) "sing" grace "to civilization "in a dying society and indestructible, and is famous sweetness before the revolution.
"A desperate search for the meaning of life"
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