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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

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

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