Word: marxist
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...Marxist Bias. "It's all Bertolucci's fault," said the dapper Grimaldi, 52, while on a visit to New York City last week. "I think Last Tango went to his head. He has become an egomaniac, a very sick man." Bertolucci, biting his knuckles in his Rome apartment, charged Grimaldi with censorship and, half seriously, with putting "a kind of curse on me-a macumba." In Hollywood a top film executive suggested that after the succès de scandale of Last Tango, the big studios probably invested in Bertolucci without scrutinizing his plans. (In addition to Paramount...
...brouhaha surrounding it. Bertolucci uses the lives of two friends born on the same day in 1900 to trace the major social and political upheavals of 50 years of Italian life (a better English rendering of the title, Novecento, might be Twentieth Century). Bertolucci's bias is frankly Marxist. His scenario, set in the rural Po valley, celebrates the rise of the Communist movement among the peasants and its ordeal under decadent landowners and brutal Fascists. Is this waving of the Red flag the real reason for the movie's rejection? Nobody will say so outright...
Like Marx, finally, who looked upon the misinterpretation and trivialization of his ideas and declared that he must not be a Marxist, and Freud, who disowned his potential heirs because of the violence he felt they had done to his theoretical system, Erikson has had to dissassociate himself, genteelly, from much of the simplistic garbage that has appeared under the banner of "psycho-history...
...response to a question on Chinese dissidents, Terrill said he saw some wall posters that expressed dissenting opinions during his recent visit, but said the posters did not criticize Marxist principles...
...that anymore." By the time he made Mother Kusters Fassbinder, influenced by the films of Douglas Sirk, had begun to think that the primary aim of film is to satisfy an audience and then bring in politics. He states that "there is no objective reality" and, therefore, unlike most Marxist artists he cannot be interested in portraying any reality but instead claims he can invoke action through a melodrama wedded to an insistent pessimism. "The only reality," he insists, "is the relation of the work to its public. It's a collision between film and subconscious that creates...