It's always tough when the giants shuffle of this deadly coil, but the tops that hit movie fans in recent days have been a particularly hard hit. Early Saturday morning words began to spread Nicolas Roeg, the filmmaker behind The man who fell to earth, among other things, had died at the age of 90 years. Then, just as the people logged on to their computers today after a long weekend weekend, it was confirmed that Bernardo Bertolucci, the Oscar winning director, helped channel it as no doubt is Marlon Brando's greatest performance in Last Tango in Paris, passed away. He was 77.
Before contributing to a collection of 60 second films for a 2014 project, Roeg had not made a feature since 2007 Puffball: The Devil's Eyeball, like … let's say the title does not exactly exactly high expectations. Bertolucci's last movie was 2012 Me and you, a teenage drama that has its fans and its detractors. None of these gentlemen were in the top condition, artistic or otherwise, but the fact that there is no chance of seeing even less work from them again is a big loss. Cinephiles has not suffered a one-two stroke like this since Ingmar Bergman and Michangelo Antonioni drove both their FIN intertitles on the same day in July 2007.
And strange, it feels like there are strange parallels between these two twin passages. Both Bergman and Antonioni had established their reputation by the time that Roeg and Bertolucci had begun directing next-generation status. The former helped pave the way for the latter. You will not get Performance without persona; as much as The Grim Reaper (1962) and Before the revolution (1964) owes you to Pasolini and Godard, you may not have received Bertolucci's wonky, warped politically-personal parables without the "modernity and dissatisfaction of the older Italian" trilogy that helps to break de facto neorealism aside . For the most part, however, it is the dual feeling that these double outputs represent somewhat larger than just two board members who die during hours or days of each other. You can not shake the idea that a door has closed at certain times for filming and filming.
For Roeg and Bertolucci, it meant the adventurous art house 1970s. Before it became director, the British part of that equation literally began behind the camera, with the sense of being the only cinema photographer to shoot the dance deeds (1964s The mask of red death) and Grateful Dead (1968s) Petulia). Roeg would cut an eye for color and a love for the break chronology of the years that he would benefit after signing Donald Cammell to finish Performance. Co-director credit kicks his new career into style: the end of the sixties, the end of the century's freak scene, where a London gangster (James Fox) and a decadent dandy of a rock star – won & # 39; Do you guess his name? – Merchandise and Faces You know the brown lamb that the guy at Woodstock warned people about? This movie is liberally dosed in it. It ends in sex, drugs, transmotrification and a killer-transfer of "Memo From Turner." Roeg was ready to go alone now.
From there we get a lot of movies that are as big part of trip and body heat: Walkabout (1971), with his western-vs.-native culture clash, spiritual mission and Jenny Agutter au naturel; the little set Glastonbury Fayre (1972), his uncredited contribution to concert films having more nude hippies per capita than his closest peers; Do not look now (1973), a modern horror classic with the flashback / forward link sequence, has been copied by inifinitum, but never duplicated; and The man who feels on earth, the ultimate cinema du Bowie close call. Each of these films contains pictures, from Donald Sutherland, and chases a red figure through Venetian streets to the thin white duke hiding his skin and his family, which feels like transfers from another world. Each of these movies plays fast and tidy, romance, sexuality, gender role, reality. They were films that made the lysergic hangover to the countercultures of collective nightmares twisted with nightly emissions. Sutherland was never sexier. It was also not Mick Jagger, in eyeliner and full androgynous flowering.
For Bertolucci, the seventies begin with a masterpiece: The Conformist. The idea of a "perfect" movie is ridiculous; However, this narrative of a suppressed homosexual who embraces fascism comes ridiculously close to achieving the ideal. Jean-Louis Trintignant gets seduced and abandoned by the country's brownshirt brigade, but not until he has been intending to murder an old professor he knows in Paris as well as … ok, you know what's about how you always hurts to you you love? It will be something of a mantra here. The collaboration between Bertolucci and cinema photographer Vittorio Storaro forged here and in the duo's second 1970 film The Spider's Strategy, produced some of the most expressive images ever: the art deco architecture! They shine and shine! The cascade of windblown leaves! Such a woozy message about style and substance, form and content, felt revolutionary. This is cinema as an art form, full stop.
What to say about Last Tango in Paris (1972) that Pauline Kael, the film costs Maria Schneider and various other collaborators have not said themselves? By forcing Method-Acting posterboy / movie star to dig deeper than usual in her own plagued psyche, Bertolucci Marlon Brando gave the chance to remind people why he was considered a challenger for the greatest screenplayer. By forcing the 19-year-old Schneider to do something that made her very uncomfortable – she would refer to the infamous "go to butter" sequence as something "raped" – and later express anger when defensiveness over So, if you set again, the director will forever thin what remains a highwire act of personal revelation. It's hard not to watch the movie as a transverse totem in the seventies, and just as hard not to think about it now and mildly gag. (We can not recommend this brilliant play by Ann Hornaday about the contradictory feelings highly enough.) There is a scream in the abyss that doubles as the word definition of a problematic movie. It can not be ignored. It's like a highlight and a low point of Bertolucci's career.
His two remaining films in the decade, the historical phantasmagoria 1900 (1976) – "Sprawling Epic" does not begin to cover it; Robert De Niro and Gerard Depardieu also do not share a full-front handjob scene "- and the taboo-courting mother-son story Luna (1979) are some serious diamonds in rough. But they are unique and sometimes shining jewels, and you can still say the same about Roeg's 80-year-old production: see Bad timing (1980) Eureka (1983) and insignificance (1985). You can call the Reagan-to-Bush I epoch Bertolucci's golden period, if you with "gold" meant you Oscar for The last emperor (1987), an old-fashioned play that gets better every year. Roeg's last must-see comes in 1990, with his Roald Dahl adaptation of The Witches (We would like to recommend its 1993 TV movie at Joseph Conrads Heart of darkness, with Tim Roth and John Malkovich). Bertolucci demands a time war for 2003, with dreamers giving us a flashback to a more hedonistic era and the term libido that liberates. Consider this 10 cc of unfiltered, mainstream youth.
The men who made these films are gone now. Their movies remain unless you want to watch them on FilmStruck, which officially goes the way for all the flesh on November 29th. It performed both of these artist's work during his short government; Six rog films were actually added to the site the day before his death. Their work was discussed in newspaper and publications; Now it's, along with most movies that apparently were made before 1960, the province of a niche audience. And that may be why, with us losing two big filmmakers and a streaming service dedicated to retaining legacy from artists as they lived in a week, it feels like a certain era ends. All artists die. Hopefully, the legacy and their influence remain; ditto cinephilia, the kind that was rejected and premier vision and madness. We make sure. And then we continue to see.