Monday , April 12 2021

Sex Factor: Nicolas Roeg and transgressive inheritance Bernardo Bertolucci | film

Tit is a coincidence of two great directors who die within three days will be surprisingly small. But Nicolas Roeg, the British cinematographer turned director, who died Friday at the age of 90, and Bernardo Bertolucci, whose death at age 77 was announced on Monday, had more in common than they pass. Their reputation has been forged at the forefront of a new kind of transgressive cinema in the 1960s and 70s, in which obvious depictions of sex and desires are the driving force behind the dramatic, not X-rated show. Sex in these films is not gratuitous titillation, but a way of expressing the character, motivation and meaning. Remove the beast with two backs on the extraordinary early work Roeg – including Do not Look Now, The Man Who Fell to Earth and Bad Timing – and it would be like tearing out pages and pages of scripts over conventional films. Wash sex scenes with Bertolucci's Last Tango in Paris and one was left with a short film about a flat hunting.

"Words have the slightest importance," said Roeg in 2011. "One moment of truth in the film can be seen at once … All the subtleties of the poem, all the things that you put in the rhythm of the words, can be destroyed in a single form. "The proof is on the screen. There is no way to make rational sense of identity merging and blurring of sexual boundaries between a gangster (James Fox) and a pop star (Mick Jagger) performed other than through the penetrating close-ups and cuts, with whom their relationship is formed by Roeg and co-director Cammell. Scratch, predatory passion between a widower (Marlon Brando), and a young stranger (Maria Schneider) in Last Tango in Paris or an opera singer (Jill Clayburgh) and a drug addict son (Matthew Barry), for whom she harbors incestuous desires in La Luna is located in the liberated corporeality that was possible in the new search climates these filmmakers helped to create.

Mick Jagger and Michel Breton in performance Cammell and Nicolas Roeg.

Mick Jagger and Michel Breton in performance Cammell and Nicolas Roeg. Photo: Allstar / Goodtimes

Successes and broke taboos Roeg, Bertolucci and contemporaries such as Walerian Borowczyk and Oshima presented the cinematic landscape now we take for granted when we see the work of Bray, Claire Denis, Pedro Almodovar and Lars von Trier. Both of them served their apprenticeship at the feet of other great directors. Rogue began as teaboy and worked his way (second unit on Lawrence of Arabia, the director of photography at 451 degrees Fahrenheit, and the distance from Soshel & # 39; yatselay crowd); Bertolucci was an assistant director on the 1961 debut Accattone Pasolini (he is known to be said, was "how to be present at the birth of cinema").

They were in captivity of French cinema. Bertolucci was an ardent supporter of the Godard, most obviously seen in his third film, incendiary Partner (1968), and Rogue supporter of Alain Resnais, especially in the last year at Marienbad itself to & # 39 is an unexploded bomb repressed eroticism with which connection can be drawn to the untimely almost 20 years.

Julie Christie, Donald Sutherland and Nicolas Roeg filmed sex scene in Do not Look Now.

Obvious … Julie Christie, Donald Sutherland and Nicolas Roeg filmed sex scene in Do not Look Now. Photo: Studio Canal / Rex / Shutterstock

It is important to know the context in which were released Rogue and Bertolucci. Although open and hard-hitting sex scenes have been a staple of the American new wave (they are especially important for Bonnie and Clyde) and the European art-house, this is not the whole story. Soft-core pornography and risky sex comedy hitherto been acceptable and profitable part of mainstream cinema programming in the UK. In these pre-multiplex days, at least one auditorium at each local three cinemas will be given to how dubious enterprise called innuendo-laden, so that the children standing in line with their parents to see Pinocchio ~ d or rescuers would pass posters Sun to Get Your panties in a twist and Thigh Spy. Martin Scorsese's Taxi Driver, perhaps attracted applause in 1976, but it was convenient outgrossed in British cinemas in the same year Adventures taxi driver limp comedy starring thoroughly depressing sex scenes interspersed with counter personnel work in a taxi waiting.

Ten-year dropout night television Do not look now, not to mention the beginning of the film to the top of the sort polls assessing the greatest British films of all time, who wears his shock. It is important to evaluate not only how unfamiliar Roeg film would look at the local ABC next to, say, fresh, young and sexy, but also its apparent radicalism screen treatment of sex as a means to deepen the psychology of the characters. Peter Bradshaw said in meeting Roeg, now do not see contains one of the few films sex scenes between the characters who already know each other; they enrich the existing link rather than tearing each other's clothes in the heat newfound passion. Not only that, Donald Sutherland and Julie Christie plays a married couple, but their lovemaking is healing, because they have come to Venice partially recover from the death of their daughter.

Julie Christie and Donald Sutherland in the film by Nicholas Roeg's Do not Look Now.

The sheer radicalism … Christie and Sutherland in Roeg's film Do not Look Now. Photo: TCD / Prod DB / Alamy Stock Photo

The scene also has an important and mysterious function in the plot – and here I can only say, Sun see now if you have not seen Do not Look Now – as it has always been discord Roeg, marking the moment when Christie conceive again. Although it is never mentioned in the film, Rogue considered the last shot of her in the funeral procession, as the moment of signaling the imminent birth. glass recognition never quite brought this kind of difficulty a little bit about how your father.

It would be wrong to assume disputes not play a role in attracting viewers to films Roeg and Bertolucci, although sometimes it may endanger overturn film. Producer Jeremy Thomas, who has worked with both directors, recalled a sensation at Rank Group, which funded the Bad Timing, disturbing Roeg 1980 drama about the destructive sexual relationship. One scene in particular in which Art Garfunkel has sex with Theresa Russell after she took an overdose, it can still be fatal spill was necrophilia in all but the letter script. "The site was launched to disseminate religious movies," Thomas said in 2014 ", and you might not get much further than the wrong time of the ideology of the Lord rank. If the chairman finally saw the film, he raised his hands and said: «Gongman out this movie!" And so break without trademark. George Pinches, who was at that time head of the ranking scheme, called it "a sick film made by patients for sick people."

Bernardo Bertolucci, left, Marlon Brando during the filming of Last Tango in Paris in 1972.

Bernardo Bertolucci, left, Marlon Brando during the filming of Last Tango in Paris in 1972 Photo: Granger Historical Photo Archive / Alamy

Bad Timing is now safe from such besmirchment, and Roeg's reputation has rarely been greater, partly because of the flattery of young directors such as Christopher Nolan and Danny Boyle. Bertolucci is another matter. Last Tango in Paris magnificent piece of cinema, but now it looks very different, in the light of revelations about the way Schneider mistreated and manipulates its roles and the director – the opening of the very actor, who died in 2012, was discussed openly in an interview with & # 39; u still 2007, but which only became widely cravings when they have been ratified by Bertolucci in 2013, he admitted that he and Brando prepared with the idea of ​​using oil as a prop in the anal sex scene of the film, surprising the then 19-year-old Schneider with him that while the camera was rolling, so that he "wanted her reaction, as a girl, and not as an actress." Schneider said that she felt "a little raped" after the scene was finished. "I was so angry. I had to call my agent, if my lawyer come to the set because you can not force someone to do something that is not in the script. But at the time I did not know that. Marlon said to me: "Maria, do not worry, it's just a movie."

But the Last Tango in Paris can not be just a movie anymore. Unlike Roeg, Bertolucci went on to do an exceptional job later in life, such as precipitation, the dreamer and his swan 2012 Me And You (completed in seven years after he suffered a debilitating back injury). All that is in danger of being overshadowed by the viewer is now in the era of #MeToo can show Bertolucci and say: "It is also" What happened on the set of The Last Tango in Paris, not to mention the years of Schneider's claims were ignored, of course, complicates the flowering period experiments in which this picture was taken. And although this is not the first great work of cinema will be built on the suffering, it is one that many viewers today will not be able to watch not only seeing the errors committed in its name.

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