We differ once again Mike (and I enjoy differing with you), about the psychological (and philosophical) acumen of Bertolucci. The connection that is made between Clerici's need to conform and his traumatic childhood shows psychological perspicacity (the director himself entered into psychoanalysis during this period). That conformism is the tool of fascism was a crucial theme of the late 60's and early 70"s (and is particularly relevant to the present period in U.S. history as well). I agree with you that Vittorio Storaro had a lot to do with the compositional enrichment of the post-sixties films. But I would say that Bertolucci's vision deepened as well.
The terror of realizing that Clerici was the most talented of his mentor's students, and that he knew that fascism represented life in Plato's cave and still chose to be a fascist haunts me.
"For beauty is the beginning of terror we are still able to bear, and why we love it so is because it so serenely disdains to destroy us" Rilke's First Duino Elegy
Daniel Shaw
website: www.lhup.edu/dshaw
________________________________
the result is stunning, but i think largely on the surface . . . the
psychological depth that acumen would reveal is perhaps
suggested but not ever activated
mike
*
*
Film-Philosophy Email Discussion Salon.
After hitting 'reply' please always delete the text of the message you are replying to.
To leave, send the message: leave film-philosophy to: [log in to unmask]
For help email: [log in to unmask], not the salon.
**
|