Download (12MB) - University of Salford Institutional Repository
Download (12MB) - University of Salford Institutional Repository Download (12MB) - University of Salford Institutional Repository
prior socio-cultural associations. Bertolucci's depiction of another minor character, the young drug dealer Mustafa and his habitat in the poor outskirts of Rome, will again draw comparisons with Pasolini's sub-proletarian youngsters, but it is little more than a cinematic citation, lacking the socio-political substance of both Pasolini's Accattone (1961) and Bertolucci's own Grim Reaper. Bertolucci gives Mustafa Accattone's line, 'I hate to work because there is no work' - in the sense of stable, respectable employment - but it is a self- conscious inclusion that lacks the original line's resonance, since the implied social accusation does not possess the impact it had two decades earlier, and because the line is uttered in a film devoid of socio-political commitment. A similar effect is created by the foolish would-be lothario from Rome who attempts to chat up Caterina by telling her a joke about the Cuban president Fidel Castro. This role is played by Renato Salvatori, who was popular in the 1950s and 60s, and whose most famous film was Poveri ma belli (1957) in which he played a brash but genuine proletarian character. To viewers familiar with Salvatori's career, his character in La lima is perceived as a miserable caricature of his most famous role, and the joke about Castro - if not read in the light of Bertolucci's sardonic view of America's fear of Communism may deepen the sense of emptiness that often engulfs the viewing experience offered by La lima. The need for self-reassurance As indicated by critics, (Kolker, 1985: 154-155) La lima features many allusions to films both by Bertolucci and by others. For viewers familiar with Bertolucci's prior work, such cross references may elicit curiosity and mild intellectual gratification, but as they become pervasive, a sense of overstatement develops. This is instantiated by the scene depicting an implausible conversation about various types of ham and wine into which Joe is drawn by a bartender (see image on following page). The character clearly evokes Gaibazzi from Tlie Spider's Stratagem, who, in a similar scene, makes Athos Magnani junior taste and comment 288
on different types of meat. The bartender character - behaves as if he has materialized from another [ I, context into the film, and because of the scene's | ambiguity, possessing hints of the comic but without developing them, and lacking any cognitive stratification (in The Spider's Strategem Gaibazzi uses the types of ham as metaphors for describing Athos Magnani senior and his opponents' personalities), no indications are given to viewers regarding an appropriate mode of reception. However, what is recognizable is that through the allusions to Bertolucci's own work in La luna, the director is revisiting his own career as if in need of reassurance about the value of his art. The epitome of this personal journey is the sequence in which Caterina and Joe pass the picturesque farm used in 1900 while farmers load hay on to tractors in a clear re- enactment of a scene from the film. The images, framed from the car window, are slightly blurred, soundless and in slow motion; the effects confer an emotional charge on the sequence. But without a narrative justification for such techniques, which cue a sense of affection and melancholy, the temptation is to look beyond the diegetic world to the directors state of mind. Elements of the lyrical The film's most affectively coherent segments - in terms of the engagement elicited from viewers - centre on the lyricism of the scenes featuring Caterina and the moon, the apex of this coming in the long take depicting young Joe as he compares his mother's face to the moon. It is a tender moment between the two, and is one of the rare instances where a sense of poetic visual and aural harmony evolve, the latter component being represented by the sequence's film score which is composed of a pure, simple clarinet note. Grodal has termed this kind of narrative scheme 'associative lyricism' and it is based on the 'symbiotic fusion 289
- Page 241 and 242: (2009) is one recent, successful ex
- Page 243 and 244: Gaut, B. (1999) 'Identification and
- Page 245 and 246: working class people depicted in th
- Page 247 and 248: strengthening viewers' alignment wi
- Page 249 and 250: experience of being out of clock ti
- Page 251 and 252: where the contemplation of this inf
- Page 253 and 254: infinite. In his discussion of sour
- Page 255 and 256: camera's 'symbiotic fusion' with th
- Page 257 and 258: criticism of contemporary Western i
- Page 259 and 260: is conveyed by Port's bleak awarene
- Page 261 and 262: Piccolo Buddha /Little Buddha: A Jo
- Page 263 and 264: concludes that all three children a
- Page 265 and 266: intensity created by stylized light
- Page 267 and 268: of a children's book, takes on a pr
- Page 269 and 270: Jesus throughout Siddhartha's progr
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- Page 273 and 274: diminishing because of Western soci
- Page 275 and 276: In all three films it is possible t
- Page 277 and 278: the film's dramatic pivot - appears
- Page 279 and 280: different stylistic registers as th
- Page 281 and 282: esolve it; and a predominantly unre
- Page 283 and 284: the two characters. The failure to
- Page 285 and 286: even understanding from viewers and
- Page 287 and 288: illusion. In search of new scandals
- Page 289 and 290: That this sequence was written, pro
- Page 291: of Caterina discovering Joe's drug
- Page 295 and 296: was considered to be Bertolucci's r
- Page 297 and 298: Hope, W. (2006) Giuseppe Tornatore,
- Page 299 and 300: of their 'elder sisters'. In a broa
- Page 301 and 302: she slowly changes position. Both s
- Page 303 and 304: evolve (M. Smith, 1995: 84-85). The
- Page 305 and 306: any allegiance towards the characte
- Page 307 and 308: the 'elder sister' is also unsatisf
- Page 309 and 310: omantic fulfilment. The author as o
- Page 311 and 312: striking garden whose colours natur
- Page 313 and 314: life revitalized. Diane rediscovers
- Page 315 and 316: L 'assedio I Besieged: A Cognitive
- Page 317 and 318: on the dusty road, while the priest
- Page 319 and 320: elongings, and his silent, secretiv
- Page 321 and 322: individuals like Shandurai in Italy
- Page 323 and 324: other' as opposed to the individual
- Page 325 and 326: (Loshitsky, 2010: 90-93) via argume
- Page 327 and 328: create different artistic effects,
- Page 329 and 330: The use of different film speeds an
- Page 331 and 332: unfolded by the narrative until tha
- Page 333 and 334: CONCLUSION This project's aim has b
- Page 335 and 336: had much to teach him, and his reso
- Page 337 and 338: and confusing experience for mainst
- Page 339 and 340: within Italian cinema has not been
- Page 341 and 342: Oneiric: The depiction of dream-lik
prior socio-cultural associations. Bertolucci's depiction <strong>of</strong> another minor character, the young<br />
drug dealer Mustafa and his habitat in the poor outskirts <strong>of</strong> Rome, will again draw<br />
comparisons with Pasolini's sub-proletarian youngsters, but it is little more than a cinematic<br />
citation, lacking the socio-political substance <strong>of</strong> both Pasolini's Accattone (1961) and<br />
Bertolucci's own Grim Reaper. Bertolucci gives Mustafa Accattone's line, 'I hate to work<br />
because there is no work' - in the sense <strong>of</strong> stable, respectable employment - but it is a self-<br />
conscious inclusion that lacks the original line's resonance, since the implied social<br />
accusation does not possess the impact it had two decades earlier, and because the line is<br />
uttered in a film devoid <strong>of</strong> socio-political commitment. A similar effect is created by the<br />
foolish would-be lothario from Rome who attempts to chat up Caterina by telling her a joke<br />
about the Cuban president Fidel Castro. This role is played by Renato Salvatori, who was<br />
popular in the 1950s and 60s, and whose most famous film was Poveri ma belli (1957) in<br />
which he played a brash but genuine proletarian character. To viewers familiar with<br />
Salvatori's career, his character in La lima is perceived as a miserable caricature <strong>of</strong> his most<br />
famous role, and the joke about Castro - if not read in the light <strong>of</strong> Bertolucci's sardonic view<br />
<strong>of</strong> America's fear <strong>of</strong> Communism may deepen the sense <strong>of</strong> emptiness that <strong>of</strong>ten engulfs the<br />
viewing experience <strong>of</strong>fered by La lima.<br />
The need for self-reassurance<br />
As indicated by critics, (Kolker, 1985: 154-155) La lima features many allusions to films<br />
both by Bertolucci and by others. For viewers familiar with Bertolucci's prior work, such<br />
cross references may elicit curiosity and mild intellectual gratification, but as they become<br />
pervasive, a sense <strong>of</strong> overstatement develops. This is instantiated by the scene depicting an<br />
implausible conversation about various types <strong>of</strong> ham and wine into which Joe is drawn by a<br />
bartender (see image on following page). The character clearly evokes Gaibazzi from Tlie<br />
Spider's Stratagem, who, in a similar scene, makes Athos Magnani junior taste and comment<br />
288