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Partner

Originaltitel: Partner.
  • 1968
  • Not Rated
  • 1 Std. 45 Min.
IMDb-BEWERTUNG
6,2/10
983
IHRE BEWERTUNG
Partner (1968)
Drama

Füge eine Handlung in deiner Sprache hinzuBernardo Bertolucci, along with co-scenarist Gianni Amico, used Dostoievski's 1846, pre-imprisonment novella The Double: A Petersburg Poem, which they moved to Italy and updated to the pro-V... Alles lesenBernardo Bertolucci, along with co-scenarist Gianni Amico, used Dostoievski's 1846, pre-imprisonment novella The Double: A Petersburg Poem, which they moved to Italy and updated to the pro-Vietcong student-protest present.Bernardo Bertolucci, along with co-scenarist Gianni Amico, used Dostoievski's 1846, pre-imprisonment novella The Double: A Petersburg Poem, which they moved to Italy and updated to the pro-Vietcong student-protest present.

  • Regie
    • Bernardo Bertolucci
  • Drehbuch
    • Bernardo Bertolucci
    • Gianni Amico
    • Fyodor Dostoevsky
  • Hauptbesetzung
    • Pierre Clémenti
    • Tina Aumont
    • Sergio Tofano
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,2/10
    983
    IHRE BEWERTUNG
    • Regie
      • Bernardo Bertolucci
    • Drehbuch
      • Bernardo Bertolucci
      • Gianni Amico
      • Fyodor Dostoevsky
    • Hauptbesetzung
      • Pierre Clémenti
      • Tina Aumont
      • Sergio Tofano
    • 13Benutzerrezensionen
    • 10Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Nominierung insgesamt

    Fotos30

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    Topbesetzung29

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    Pierre Clémenti
    Pierre Clémenti
    • Giacobbe I and II
    Tina Aumont
    Tina Aumont
    • Salesgirl
    Sergio Tofano
    Sergio Tofano
    • Professor Petrushka
    Giulio Cesare Castello
    • Professor Mozzoni
    Romano Costa
    • Clara's father
    Antonio Maestri
    • Professor 'Tre Zampe'
    Mario Venturini
    • Professor
    Alessandro Cane
    • Student
    Gianpaolo Capovilla
    • Student
    • (as Gian Paolo Capovilla)
    Ninetto Davoli
    Ninetto Davoli
    • Student
    Vittorio Fanfoni
    • Student
    Luigi Antonio Guerra
    • Student
    • (as Luigi Guerra)
    Giuseppe Mangano
    • Student
    Giancarlo Nanni
    • Student
    Stefano Oppedisano
    • Student
    Salvatore Samperi
    • Student
    Umberto Silva
    • Student
    Stefania Sandrelli
    Stefania Sandrelli
    • Clara
    • Regie
      • Bernardo Bertolucci
    • Drehbuch
      • Bernardo Bertolucci
      • Gianni Amico
      • Fyodor Dostoevsky
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen13

    6,2983
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    Empfohlene Bewertungen

    8runamokprods

    A lot of fun for an experimental, revolutionary tract.

    While the often noticed aping by Bertolucci of his hero Godard in this early film is quite true (even the film itself admits its debt to Godard right on screen), there is more here than mere imitation. Whether intentional or not I saw plenty of other influences from Bunuel, to the paintings if Rene Magritte. A loose, examination of schizophrenia; an inhibited intellectual young man spawns a separate self who is confident, aggressive and revolutionary.

    While vaguely based on Dostoyevsky's "The Double", this is very much it's own story, and a hell of a lot of fun. I found Bertolucci's surreal playfulness more inviting than most of Godard's work from that period. It asks many of the same questions, and has much of the same distain for modern consumer society, (and film narrative conventions) but does it with an absurdist sense of humor that give rise to some moments that now seem as much "Monty Python" as they are French New Wave.

    The most egregious Godard rip-offs can be annoying (sudden inappropriate music, etc), but they are for the most part mercifully brief. Mostly this is more influence and homage than theft, and creates a time capsule that still has relevance and interest, and pleasure in the watching. Pierre Clementi does a fine job playing the two different versions of the hero Giaccobe.
    9jonchopwood

    A fascinating evocation of the times

    This rather ludicrous exchange takes place at the end of David Lean's adaptation of Boris Pasternak's epic novel DR. ZHIVAGO:

    Gen. Yevgraf Zhivago: Tonya, can you play the balalaika?

    Tonya's Boyfriend: Can she play? She's an artist!

    This dialogue, as well as the scene within the framing device of Yuri Zhivago's brother Yevgraf finding Yuri's love child with Lara and telling her about her "past," appears nowhere in the novel. Instead, in an epilogue in the novel, two of the many characters, after the end of the Great Patriotic War (World War II), talk about how one had met this love child at the front. Their ruminations illustrate the great dislocations caused by the Revolution, Stalin's Terror, and the War. Nowhere does something as silly and trivial as the question "Can you play the balalaika?" appear in the novel.

    Movies that use great events as backdrops to personal stories tend to trivialize the great events and make the intimate lives of their characters rather absurd and trivial (ironically, the very charge Strelnikov makes to Zhivago, in reference to his poetry, in Lean's movie). Great events such as revolutions wash over everyone and have to be handled with the greatest care to avoid this fundamental absurdity of the events being greater than the individuals.

    Before "The Dreamers," Bertolucci already made his film that ruminates on the events of '68 and its aftermath in the year itself:

    "Partner" ("Il Sosia"), based on Dostoyevsky's "The Double." It is very interesting, and very honest, look at the spirit of the times and I highly recommend it.
    7lasttimeisaw

    Cinema Omnivore - Partner (1968) 6.9/10

    "Bertolucci's juvenilia, his Venice Golden Lion-nominated third feature PARTNER, made when he was 28, released months after the May 68 unrest, is an antisocial, subversive manifesto re-moulded out of Dostoevsky's novella "The Double" and has the Vietnamese flag prominently featured in it.

    Clémenti plays Giacobbe, a young college professor, cynical, unstable, romantically frustrated, even psychotic and homicidal, meets his alter ego. Like two peas in a pod, they live together in Giacobbe's book-stacked apartment, but dissimilar to Dostoevsky's text, PARTNER doesn't overtly demarcate their disparate personalities, for most of the time, audience cannot tell which Giacobbe is present when only one of them is shown. "

    -
    7flickhead

    A pinnacle of the Italian New Wave

    It's not easy to rate an experimental film on the same scale as films that were intended to be seen by wider commercial audiences, and "Partner" is an experimental film. Many have criticized Bertolucci for aping Godard's style in this film, and certainly there are liberal elements of "Two Or Three Things I Know About Her" and "Weekend," but the camera work and cinematography and even the Morricone score are all indicative of an Italian filmmaker, more so than the French new wave that served as the defacto inspiration. But if one is forced to point out the films that it followed, one should also illuminate the many films that it inspired, whether directly or indirectly, and that list is at least as impressive. The easy heir is "Fade To Black," which follows a would-be actor on his descent into madness and murder. The over-the-top performance of Pierre Clementi is exchanged (perhaps as a sign of the times) for the understated twitchiness of Dennis Christopher, but the whole story is here. One can chose to credit the original Dostoyevsky story, but the film reference reads truer as an influence on the later film when considering what a lose adaptation "Partner" was of "The Double." In fact, Conrad's "The Secret Sharer" could just as easily have served as the source material when dissected the faithfulness of the Amico script of the Russian author's work (and of course only for the sake of argument, as Dostoyevsky is clearly credited). Less obvious may be the impact that Partner had on Bertolucci's Italian peers. A mere year later, "Love And Anger" would unite the Italian filmeratti with Godard to launch a collaborative New Wave film. It's unlikely this would have happened were it not for the release of "Partner." Likewise, the classroom discussions of "Zabriskie Point" betray more in common with this film than with Antonioni's previous output, and yet it can also be said that certain scene compositions in "Partner" could trace their routes back to Antonioni's "Blow Up." The composition is very similar though the camera movement is not. Even when examining Bertolucci's future output, one can point to Partner as the turning point in his artistic style. Up to that point his work was devoid of the cinema reference that pervades "Partner" (the Odessa steps parody, amongst others) and was toned down in "The Conformist" and "Last Tango In Paris." As an experiment, Partner is more of a success than a failure. It's not simple, casual viewing. It's a hard to digest film from a man who has absorbed and digested more about film than most others. It's comparable to Louis Malle's "Black Moon," but predates it by seven years. "Partner" is an oddity. It's unlikely to have a broad appeal, which is probably a good thing. This isn't going to sway the "Shrek" crowd, that's for sure. To an extent, you either get this film or you don't. The same can be said for dozens of films and filmmakers who are held in high regard by people who hold this film in contempt (it's tonally very close to Jodorowski's "Santa Sangre"). I for one am glad I've seen it. It's not perfect, but it's thought provoking, well made and less self indulgent than a lot of recent art-house fare from culty sacred cows ("Inland Empire," anyone?). Most people will find their way to this film as part of their Bertolucci completism. Some may be Tina Aumont obsessed. I don't think either will be greatly disappointed.
    8guisreis

    Bertolucci's surrealism

    Interesting and amusing surrealist movie, although perhaps too long. It has many funny moments, bizarre and nonsense situations and dialogs, experiments with sounds, nice art direction and colourful cinematography, immersive soundtrack. I loved the shadows' scene, a very cartoonish one.

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    • Zitate

      Giacobbe I and II: The things are not as we see, neither as we feel them generally. But it is as the theater shows us. The things are receptacles of evil, which is, of irreality. The theater is one of the ways that conduct men to reality. In the beginning, things were real, the world in its childhood was real, there was a ressonance on men. To look to the world at that time was to see the infinite. Now, something is growing inside of me, that doesn't come from me but it comes from the darkness inside of me. And soon there'll be nothing. Except our obscene masks that imitate reality in between the sputum and the manure of the world.

    • Verbindungen
      Featured in Sein Ruhmestag (1969)
    • Soundtracks
      Splash
      Written by Audrey Nohra (as Nohra)

      Composed by Ennio Morricone

      Performed by Peeter Boom

      Courtesy of C.A.M.

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    FAQ14

    • How long is Partner?Powered by Alexa

    Details

    Ändern
    • Erscheinungsdatum
      • 25. Oktober 1968 (Italien)
    • Herkunftsland
      • Italien
    • Sprachen
      • Italienisch
      • Französisch
    • Auch bekannt als
      • Partner.
    • Drehorte
      • Rom, Italien
    • Produktionsfirmen
      • Red Film
      • Ministero del Turismo e dello Spettacolo
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    Technische Daten

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    • Laufzeit
      1 Stunde 45 Minuten
    • Seitenverhältnis
      • 2.35 : 1

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