La luna

Another memorably visual movie piece to add to this cult director's belt, and again, I was not disappointed, and more so appeased, as I really enjoyed this one, more than I thought I would, by some stretch. If you analyze the story, it actually makes sense. Let's face it, mother-son incest, is not too appealing, but this movie doesn't exploit, but more rationalize it, in a tame and poignant way. The wonderful Clayburgh, really carries this film, with such a roping performance, as a widowed mother and opera singer, who lost her husband (Gwynne) of all people, to a heart attack. She and young son, move to Italy, and it's not the best choice, as son merges with the wrong crowd of friends, and falls victim to heroin, supplied by a local town punk or playboy, who Clayburgh confronts later, and throws him an offer. Such a strong message is plastered across the screen about parent neglect, and we so much feel for the poor son, any mother would be proud to have, who's just drowning in a sea of self worthlessness, and there are moments, when we really hate Clayburgh's character, but we know why she has become, like this. The chosen locations of Italy are beautiful, especially the night shot ones. The opening scene, was beautifully shot and unexpecting, but totally pulled me in, part metaphor if you decide to watch this film , which I highly encourage you to do. Son and mother performance are equally impressive, and Clayburgh, is like a hot potato. You don't know how she'll react, and what she'll do next. The ending is mesmerizingly thought stirring, visually as well. I suggest you take a good look at La Luna. I'm glad I did. A stand alone, stylish, original treasure.

A childhood memory, looking into his mother's face with a full moon creating a halo around her. Beautiful and so Italian. The mother in this case is Jill Claybourgh, she was raiding the crest of the wave then and it's very telling that she would choose to play a part that required, not just appearing completely nude but making love to her teen age junkie of a son. She is awkwardly terrific. Her face is a voyage in itself. I would have use quite a different wardrobe for her character as well as make up and hair style but maybe that was just a sign of its day. Jill laughs saying "I am crazy" and that would explain some of the dangerous nuttiness she indulges in here. Her son, played beautifully, by unknown - before and since - Matthew Barry. A Bertoluccian teen sex object if I ever so one. The film has oodles of moments to cherish. Tomas Milian plays the boy's real father. They've never met, His father still lives in a rather intense relationship with his mother, the stunning Alida Valli. In small, very small parts, Carlo Verdone, Roberto Benigni and Renato Salvatori. A film to enjoy with your heart, your gut and your libido but not your brain. Just live your brain for other Bertolucci jewels.

This was an odd movie that I am still not quite sure how to evaluate. The first time I saw it I was merely disgusted. The second time, I got more out of it, but I am not certain that it was worth the effort. Despite some good, and risky, performances, the story simply does not hold together well. By the end of the movie, it is very hard to care about any of the characters or the plot, despite the undeniable beauty of the film. Give it a try if you are in the mood for something different, but don't expect too much.

Not many discuss Bertolucci's La Luna as one of his most challenging films but I beg to differ. In 1979 I presume the film's campy allure had not been registered but today it's all to be seen; call it kitsch or ironic, but la Luna encapsulates two worlds Bertolucci tried to negotiate in most of his films - the world of appearances and surfaces against the inner world of the protagonist. La Luna plays both against each other as a masquerade, because what we think we are getting is not what we really are seeing. Bertolucci presents the first part as a post-Freudian fable in late 70s Rome where an Opera singer and her son indulge in an Oedipal relationship. Bertolucci then introduces the lost but real father to the scene as if to eradicate Freudian psychoanalysis as a spurious retelling of Greek myth. It seems the son only wants his father's recognition and love, while the mother is marginalized. It's a very masculine thesis for Bertolucci, one that reinforces the illusory fundamentals of Patriarchy, while negating the matriarchal as a mere bypass to the final journey(father's love).

Jill Clayburgh's acting is off-key most of the time but this unwittingly invests the film with its latter-day camp quality, while Matthew Barry looks dazed and confused throughout the entire film. Rome is undoubtedly the best part of the film as well as the sumptuous visuals that capture its sun-drenched beauty and decaying but grand monuments.

I actually auditioned for the role of the son when the mother was originally supposed to be played by Liv Ullman I think I read for it twice but was ultimately rejected because I looked too American in a Tom Sawyer kind of way-the boy who ended up doing it had a European quality in his face which Bertolucci wanted for the role. I saw it twice when it came out in the US, both times at the Loews Twin Cinemas. I remember it as having been gorgeously shot. The performances by Clayburgh and Barry are extremely good. Alida Valli is superb. The opera scenes were fantastic. Why isn't this out on DVD? Will we have to wait until after Bertolucci's death?