Word: visualizing
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Dates: during 1970-1979
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Simon divides this film into two elements: the visual and the thematic. His justification is unclear. He would never tolerate such bilidity on the part of a film-maker. His examination of The Clown's Evening is, however, sufficiently perceptive on all counts to make this weakness merely an organizational problem. Attaching defailed comment to extensive paraphrase. Simon gives a clear picture of Bergman's command, particularly of the nightmarish flashback done with heightened contrast and masterful manipulation of sound. Drawing somewhat on earlier analyses by British critics Peter Cowie and Robin Wood, he integrates his observations, obtaining a more...
Simon chose Winter Light to represent Bergman's religious trilogy from the early 60's. More than any of Bergman's other films, it has an austere, condensed visual strength that makes analysis of its imagery almost superfluous. Its depiction of religiosity is ambiguous, yet profound, and so Simon carefully explores possible conclusions to be drawn from the ending--where the pastor, whose faith has deserted him, begins the Vespers service before an audience consisting solely of his church's staff and his atheist former mistress...
...delighted or angered by this early scene in Bernardo Bertolucci's new movie, Last Tango in Paris, should be patient. There is more to come. Much more. Bertolucci, whose political melodrama The Conformist was one of the most highly praised foreign films of 1971, has marshaled his opulent visual style to tell a stark story of sex as a be-all and end-all. For boldness and brutality, the intimate scenes are unprecedented in feature films. Frontal nudity, four-letter words, masturbation, even sodomy-Bertolucci dwells uncompromisingly on them all with a voyeur's eye, a moralist...
Revolution also set the pattern of Bertolucci's lush, visual style, a kind of free-flowing flamboyance that seems to be a celebration of the act of filmmaking. There were references to movies, countless movies, everything from early Godard to Red River. Bertolucci continues this tradition of paying homage to his mentors: In The Spider's Stratagem, made in 1969, the camera lingers briefly over a poster for Robert Aldrich's Wagnerian western The Last Sunset; in Tango there is a scene aboard a barge, between Maria Schneider and Jean-Pierre Leaud, that is meant to evoke...
...customers got up to dance, spontaneously crowding the floor; Tango's lingering and desperate ballroom interlude gives the film its title. Bertolucci is smitten by dancing the way Hitchcock is obsessed by staircases. Each motif gives the director occasion to employ the best elements of his visual style in full flourish. Bertolucci's dancers are not only orchestrated to the movement of the camera, but seem to embody it. All of his films have an overriding feeling of gentle, gliding movement, a ceaseless choreography for the camera...