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engaging. Unfortunately the core of the second narrative is antithetical to the vibrant,
nonconformist nature of the 1968 students' movement, and this is mainly responsible for the
uneasy confluence of value systems that characterizes the film, and for the sense of
disappointment for those spectators who were attracted to the film for its socio-historical
premise.
Notes
1. On July 11 th 2002, during filming, the film's producer Jeremy Thomas told journalists: 'Despite what has
been said so far, The Dreamers is not a film about the barricades in 1968 Paris, but it is about the youthful
idealism that inspired them'. From the article 'Bertolucci torna a Parigi con The Dreamers' -
www.kataweb.it/cinema/cerca.jsp?textfields=the+dreamers&select=anicoli . In an interview by Vittorio
Renzi on October 12th 2003, Bertolucci affirmed: The film particularly addresses the youngsters who were
not yet born [...] I wished to create a contaminating effect and tell them that if it was right to rebel at that
time, it is still right nowadays', www.cineclick.it/recensioni/archivi/dreamers.asp
2. On October 19th 2003, in // Sole 24Ore, Luigi Paini praised the authentic depiction of the Cinematheque
battle but then criticized the film through a series of rhetorical questions: 'And afterwards? What happens
after that? Why, little by little, do we not feel involved anymore? [...] It happens that Bertolucci does not
have much left to say [...] He has made a great effort in those initial sequences, and now he has only an
empty story to tell". A more scathing review was written by Goffredo Fofi, in the 23 rd October 2003 edition
of Panorama. 'They dream very little, the three protagonists of this film [...] Bertolucci seems to have no
real interest in the events, but a strong one in psychoanalysis tailored to his own benefit [...] The Dreamers
offers a version of the events suitably and opportunistically undermined. Politics and youthful revolution
have very little to do with the film' www.mymovies.it/recensioni/?id=34652
3. In 'Incontro con Bernardo Bertolucci con interventi di Gilbert Adair', edited by Luciana Morelli and
published on October 7th 2003, Bertolucci was asked what linked the film to the present and he specifically
mentioned the scene of the police attack. 'I slowed down [the scene] by a digital technique, I would have to
extend it up to the time of Genoa 2001. This is the umbilical cord existing between the present and the past
that I wanted to be perceived in the film' [Online] available at ww\v.cinefile.biz /dreamcs.htm [March 2004]
4. In the interview 'Bertolucci, il sognatore' of the 18 th of September 2002, Bertolucci affirmed: 'The meaning
of the film is its attempt to recapture and recount, above all to the young generations of today who know
nothing about '68, which for us is extraordinary, the spirit of that time.'
www.kataweb.it/cinema/cerca.isp?textfield=the+dreamers&select=articoli.
5. C/rv Lights, (1931) by Charles Chaplin, Charles Chaplin Productions; Freaks, (1932) by Tod Browning,
Metro-Goldwyn-Mayer (MGM); Bande apart, (1964) by J.L. Godard, Columbia Films, Anouchka Films.
Full list at http://www.imdb.com/title/tt039987/movieconnections .
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