Word: bertolucci
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...with the approval of his Spanish convert parents, four-year-old Hita was tapped by FPMT monks as the reincarnation of the group's co-founder Thubten Yeshe. Their methods will be familiar to anyone who has seen Bernardo Bertolucci's Little Buddha or the current documentary Unmistaken Child: The monks reportedly heeded some dreams; the Dalai Lama consulted an oracle; and the capper was that young Hita "recalled" the color of the dead lama's car. (See pictures of the Dalai Lama: Six decades of spiritual leadership...
...Honestly, though, it doesn't matter. These aren't the '70s, when directors like Sam Peckinpah, Ken Russell and Bernardo Bertolucci had a more serious and reckless sense of cinematic adventure than filmmakers do now, when they took an X rating (as the NC-17 was called then) to insure that their visions reached the screen - and when a film existed only in the version that was shown in theaters. Today, the theatrical release is often just a teaser for the "unrated" DVD, like a hardcover book that implicitly promises a smuttier paperback. It's as if, back...
...designation got a makeover in 1990--it used to be X--it still has the old, unfair tinge of porn. The big studios avoid it. Mostly it goes to sexually charged fare from world-class directors, like Pedro Almodóvar's Bad Education ($5.2 million domestic) and Bernardo Bertolucci's The Dreamers ($2.5 million). The one big, glitzy NC-17 movie, the 1995 Vegas-stripper epic Showgirls, cost $45 million to produce and earned just $20 million. That modest sum is the highest take ever...
...host country, then tried to turn it into a compliment ("Many times they say, 'The Problem with France is the French,' but that's a lie"); and 5) squeezed some sour grapes by saying, "If I did get the Palme d'Or I was gonna give it to Bernardo Bertolucci, who's been ill. But I didn't, so it doesn't matter." One or two jury members wince at the oafish display, as if to ask, Is it too late to retract the prize...
...secret ingredient in movie emotions. Morricone wants his music to be as evident as the performances and the visuals. There's simply no ignoring the chorale he composed for the rebel peasants' march in Gillo Pontecorvo's Queimada (Burn!) or the several stirring anthems he wrote for Bernardo Bertolucci's 1900. These are pieces that, as Morricone proved when he played them at a concert this month at New York City's Radio City Music Hall, can stand and soar on their...