Word: director
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Dates: during 1970-1979
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...behind, which I don't have in normal life." But Chaplin has little sympathy for Lily, who ignores love in favor of a convenient marriage and who snuffs herself out with chloral after her reputation is compromised. Says Chaplin, who for 13 years has lived uncompromisingly with Spanish Director Carlos Saura: "I like playing her. I wouldn't want to live next door...
Argentina's renowned man of letters, Jorge Luis Borges, has characterized her as a "common prostitute." That scarcely fazes Messrs. Rice and Lloyd Webber and Director Harold Prince as they bestow on Eva Duarte Perón some of the epic dimensions attributed to her by her ardent worshipers, the descamisados (shirtless ones), the poorest of the Argentine poor...
When a European director makes a film in English, the result is almost always disaster: Truffaut, Antonioni, Bergman, Visconti, Wertmuller have all come to grief when straying from their mother tongues. But Bertolucci, who once broke down the limits of propriety in Last Tango in Paris, has now crashed through the language barrier as well. With the crucial collaboration of Jill Clayburgh, he has made a movie in English without sacrificing any artistic integrity. Indeed, Luna may be his most controlled and personal film to date...
...first time Bertolucci has unloaded the ideological baggage that seemed superfluous to The Conformist and Last Tango and overwhelmed 1900. Though the director's true subject has always been erotic passion, he has usually tried to obscure that fact by littering his movies with Marxist and Freudian bromides. There is no such posturing in Luna. Bertolucci deals directly with his real obsessions; his film is a lucid and uninhibited journey to the outer limits of human behavior...
...Bertolucci troubling us with these decadent people? It is not to create a morality play. The director does not ask us to care about his characters or even to judge them; they are only instruments to make us share his vision of the world. As always, Bertolucci owes a lot to Verdi, whose life and work is invoked here even more than in 1900. The director believes that life takes on its fullest meaning when it is lived at the intensely passionate pitch of grand opera. By sheer cinematic force, he seduces us into sharing his perverse, voluptuous sensibility...