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.
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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.
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.
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. "
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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.
- VerbindungenFeatured in Sein Ruhmestag (1969)
- SoundtracksSplash
Written by Audrey Nohra (as Nohra)
Composed by Ennio Morricone
Performed by Peeter Boom
Courtesy of C.A.M.
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- Laufzeit1 Stunde 45 Minuten
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