Download (12MB) - University of Salford Institutional Repository
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lo hallo da sola /Stealing Beauty: A Contemporary Gaze on Women After Little Buddha, Bertolucci returned to work in Italy and made lo ballo da sola/Stealing Beauty (1996), which, in common with Little Buddha, presents a narrative denouement that constitutes a satisfactory conclusion in terms of character evolution. This might be read as a sign of optimism in the work of the director, who, for this film, declared: 'I am re- experiencing the same enjoyment in making and discovering the cinema that was around in the 60s' (Socci, 1996: 15). In reality, the film marks a return to more balanced filmic structures in terms of intellectual and affective components, after the emphasis given to the sensual aspects of cinematic narration in Bertolucci's previous three films. While Stealing Beauty retains the same use of landscapes to cue the sort of intense aesthetic experiences observed in The Sheltering Sky, the similar theme of the crisis of love relationships in contemporary society is placed in a cognitive and intellectual framework closer to Last Tango in Paris. Stealing Beauty can be said to revisit Tango's denunciation of consumer society's commodification of human relationships, by articulating an idea of love relationships that differs from the prevalent value systems of the period. By the 1990s, little importance was attached to a teenager s first sexual experience, and the loss of virginity was taken for granted as an inevitability. In the same way, the often pragmatic, functional nature of affective relationships involving working women was accepted as part of a woman's evolving role in contemporary society, hi Stealing Beauty, Bertolucci's representation of socio-cultural reality indicates that these patterns were changing. The film implies that despite the disconcerting level reached by society's commodification of the female image, girls were endowing their 'first time' with expectation and meaning, since they had become aware of the emotional drought characterizing the lives 294
of their 'elder sisters'. In a broader societal context, young males - uneasy at late 20th century society's value system of success at all costs - were also realizing that their fragility was one of the qualities characterizing their identity. In this light, the film's English and Italian titles each reflect a perspective in the film: the voyeuristic perspective (Stealing Beauty) - which is articulated in different ways - and the feminist perspective (lo ballo da sola 1 1 dance 'on my own", where 'sola' refers to a female character). Plot summary Lucy Harmon (Liv Tyler) is a perceptive American teenager who is determined to shape her incipient love life beyond the models established by society. At nineteen, she is still a virgin, since she rejects the concept that one's first sexual experience is either a means of ridding oneself of virginity, as if it were a millstone, or merely a matter of curiosity. She desires to make love to Niccolo, a youth she had met during a visit to Italy, and with whom she has been exchanging letters. The opportunity to see him again occurs when, as a birthday present, she returns to Italy to have her portrait done by the painter lan Grayson, the husband of Diane, the best friend of Lucy's late mother. Lucy stays at the Graysons' Tuscan country house as she seeks to make her romantic dream come true and to discover her biological father's identity. What other characters in the film - namely Diane's children from her first marriage, Christopher and Miranda, the English writer and cancer victim Alex, the French art dealer Mons. Guillaume, and Noemi, a journalist who writes an agony column - perceive as a 'flaw' in Lucy's character, is a quality that makes her an object of voyeurism by two other characters, Carlo Lisca and Richard Reed. Disillusioned by Niccolo, Lucy chooses his less attractive brother Osvaldo, whom she discovers is the real author of the letters. Inspired by her Miranda ends her relationship with the cynical Richard, whereas the revelation that lan Grayson is Lucy's father remains a secret between them. 295
- Page 247 and 248: strengthening viewers' alignment wi
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- 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
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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
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- Page 281 and 282: esolve it; and a predominantly unre
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- 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 and 292: of Caterina discovering Joe's drug
- Page 293 and 294: on different types of meat. The bar
- Page 295 and 296: was considered to be Bertolucci's r
- Page 297: Hope, W. (2006) Giuseppe Tornatore,
- 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
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- 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
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- Page 333 and 334: CONCLUSION This project's aim has b
- Page 335 and 336: had much to teach him, and his reso
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- Page 339 and 340: within Italian cinema has not been
- Page 341 and 342: Oneiric: The depiction of dream-lik
- Page 343 and 344: Bertolucci, B. (2002) 'Bertolucci i
- Page 345 and 346: Grodal, T. (1999) 'Emotions, Cognit
- Page 347 and 348: Orwell, G. (1949) Nineteen Eighty-F
<strong>of</strong> their 'elder sisters'. In a broader societal context, young males - uneasy at late 20th century<br />
society's value system <strong>of</strong> success at all costs - were also realizing that their fragility was one<br />
<strong>of</strong> the qualities characterizing their identity. In this light, the film's English and Italian titles<br />
each reflect a perspective in the film: the voyeuristic perspective (Stealing Beauty) - which is<br />
articulated in different ways - and the feminist perspective (lo ballo da sola 1 1 dance 'on my<br />
own", where 'sola' refers to a female character).<br />
Plot summary<br />
Lucy Harmon (Liv Tyler) is a perceptive American teenager who is determined to shape her<br />
incipient love life beyond the models established by society. At nineteen, she is still a virgin,<br />
since she rejects the concept that one's first sexual experience is either a means <strong>of</strong> ridding<br />
oneself <strong>of</strong> virginity, as if it were a millstone, or merely a matter <strong>of</strong> curiosity. She desires to<br />
make love to Niccolo, a youth she had met during a visit to Italy, and with whom she has<br />
been exchanging letters. The opportunity to see him again occurs when, as a birthday present,<br />
she returns to Italy to have her portrait done by the painter lan Grayson, the husband <strong>of</strong><br />
Diane, the best friend <strong>of</strong> Lucy's late mother. Lucy stays at the Graysons' Tuscan country<br />
house as she seeks to make her romantic dream come true and to discover her biological<br />
father's identity. What other characters in the film - namely Diane's children from her first<br />
marriage, Christopher and Miranda, the English writer and cancer victim Alex, the French art<br />
dealer Mons. Guillaume, and Noemi, a journalist who writes an agony column - perceive as a<br />
'flaw' in Lucy's character, is a quality that makes her an object <strong>of</strong> voyeurism by two other<br />
characters, Carlo Lisca and Richard Reed. Disillusioned by Niccolo, Lucy chooses his less<br />
attractive brother Osvaldo, whom she discovers is the real author <strong>of</strong> the letters. Inspired by<br />
her Miranda ends her relationship with the cynical Richard, whereas the revelation that lan<br />
Grayson is Lucy's father remains a secret between them.<br />
295