Les recrues

Bertolucci, at one time production assistant of "Accattone" (1961), here makes use of a Pasolini story and does it with that style will be characteristic of this director works. "La commare secca" is simply the death, the death who visits a roman prostitute using the violence of the emargination and disperation. The reconstruction of the facts, through probably inspector voice that interrogates the witnesses, is based on flashback and shows us some people on the border of that time society. Everyone is suspected but only one saw the killer. Very interesting debut by Bernardo Bertolucci, who is able to recreate the right atmosphere e make playing no professional actors letting express their spontaneity and simplicity.

This movie occurs mostly the interrogation scenes, which makes viewers a bit interesting to watch throughout their real or unreal statements. The movie style have been influenced in lots of movies, before and present days. Again, its slow paced movie which needs to be watched patiently. But, if the debutant director, 21 yrs. did such impacts. Encouragement is must. Worth to watch it.

Essentially a murder mystery with a RASHOMON-esque narrative structure involving a prostitute's death - THE GRIM REAPER makes for a supremely impressive debut for Bernardo Bertolucci. The ensuing investigation focuses on the unreliable testimonies of various bystanders through flashbacks, as they recollect their movements on the previous day. However, unlike RASHOMON there's very little contradiction in the suspects' accounts and are merely disjointed by time. The elaborate digressions into each suspect's personal life get tiresome after a while but Bertolucci never loses track of the event that brings all these characters together. Based on a story by Pier Paolo Pasolini and shot in chilling B&W — THE GRIM REAPER offers a fascinating glimpse into marginalized Rome of the 60s - thieves, petty mariners, pimps, prostitutes, homosexuals and assorted disgruntled folk living on fringes. It's primitive Bertolucci to be sure lacking the visual flamboyance and aesthetic vigour of his subsequent epics but when viewed through the neorealist prism: the intentional pseudo documentary—rough edged—slice of life approach, works wonderfully. For a neophyte, Bertolucci displays extraordinary maturity and uncanny command over the medium attested further by his ability to extract effective (if occasionally inconsistent) performances from virtual amateurs.

Not very solid, yet coherent work for a directorial debut. Better actors would probably have made a major difference in this Italian Rashomon. The story (Bertolucci and Pasolini) is about what's the truth and what is subjective perception. Who tells what story and why? More important: who hides what and why? Of course this film has nothing to do with the much more enthusiastic 'Rashomon' (Kurosawa, 1950) apart from the matter, but it may at least have been inspired by that masterpiece. If you like the subject you'll like the 'I saw the whole thing'-episode (1962!) from the series 'The Alfred Hitchcock Hour' too. Finally, this also slightly reminded me of 'Les Mistons' (Truffaut, 1957, short), probably because we are shown some street and environmental scenes of the place where a crime was committed.

Besides Pasolini (Salo, Medea) for the story, I think cinematographer Giovanni Narzisi did the most interesting work on this film. A worthy Bertolucci film and definitely worth seeing on the big screen.

8/10

In the spirit of Rashomon, we have the idea of multiple versions of a tragedy, the beating death of a prostitute in Rome. Bertolucci fell into this directing opportunity and makes the most of it. While it has rough edges, it is an engaging tale. Those present at or near the murder scene are brought in for questioning. There are three young, aimless men who are petty thieves. There is a man who is almost expressionless. There is a strange looking soldier who seems utterly lost and without social skills. There is a man with a history who can be heard because he wears clogs and clicks on the cobblestones. There are others, but each offers his account of an evening in a park near where the murder was committed. Everything is subtle and visual and we can see the beginnings of some pretty impressive camera-eye technique. There are wonderful shots like the opening where the wind blows papers in the air off a bridge. It is seen from below and at first it looks like birds flying. The acting is quite good. A down side would be a lack of clues. All we have are eye-witness accounts which could contain lies. Nevertheless, this is a sound beginning.