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inging to contemporary Italian society.<br />

Given the film's dense theoretical basis - which includes Godard, Artaud, Brecht,<br />

and the Expressionist Theatre - Partner can be viewed as an essay on all the issues that<br />

interested Bertolucci in that period, questions such as the language <strong>of</strong> cinema and the role <strong>of</strong><br />

cinema in contemporary society. The film, inspired by Dostoevsky's novel Tiie Double, deals<br />

with the dualities <strong>of</strong> realism and anti-realism in cinematic representation, and with the<br />

dualism between submission and rebellion within human nature. The two discourses are<br />

merged mainly through style, creating a result that no other Bertolucci film emulates in terms<br />

<strong>of</strong> self-conscious artificiality. Within this study's parameters, one could suggest that Partner<br />

mainly focuses on cognitive and intellectual forms <strong>of</strong> viewer engagement; while this is true,<br />

this chapter also shows how the film's intellectual orientation informs its emotional structure<br />

in generating a viewing experience typified by what Grodal terms intense and saturated<br />

modal qualities (Grodal, 1999: 136). The construction <strong>of</strong> disconcerting emotional<br />

associations by means <strong>of</strong> decor, colour, lighting, sound and music, like the dissonant violin<br />

score that dominates the soundtrack when violence is initiated, create a mood <strong>of</strong> angst<br />

punctuated by moments <strong>of</strong> empathy or <strong>of</strong> disorientation and estrangement.<br />

Plot summary<br />

In the style <strong>of</strong> cinema verite a cafe is shown where a man (later recognizable as Giacobbe's<br />

double) is reading a book about the film Nosferatu (1922) and he replicates the vampire's<br />

idiosyncratic movements by mimicking his hunched back and claw-like hands. Outside, men<br />

put up posters extolling freedom for Vietnam. In the next sequence, shot in theatrical style,<br />

the man shoots a youth playing a piano, while caressing his head; the youth seems to submit<br />

voluntarily to death. The soundtrack is filled with melancholy noise, produced by a spinning<br />

chandelier <strong>of</strong> which only a shadow is visible. The screen fades to black to end <strong>of</strong> what is a<br />

129

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