Word: vittorio
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Dates: during 1970-1979
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Luna's images are so hypnotic, erotic and beautifully shot (by Vittorio Storaro) that we enter the movie's unpleasant milieu easily and remain captivated throughout. While the film is full of golden Parma landscapes, the dominant visual fixture is the moon: it is the film's metaphor for characters whose mysterious dark sides only gradually reveal themselves. In Bertolucci's brilliant climax, set at an open-air opera rehearsal, his artis tic conceits all converge. As the camera constantly shifts its point of view, we see that Luna 's events form a different drama...
...Willard's river journey as a pretext to unveil a series of large-scale, self-contained set pieces-an impersonal tour of the war front. Though these sequences do not add up to a movie, they are feverishly imagined and brilliantly shot (by Bertolucci's favorite cinematographer, Vittorio Storaro). Indeed, the first of these war scenes may be the most spectacular battle ever created for a film. With a megalomaniacal officer (Robert Duvall) leading the charge, a cavalry of American helicopters wipes out an entire Vietnamese village. The display of aerial hardware is immense, the rush of explosions...
...Brien was a figure of unintentional transition. After the war directors like Roberto Rossellini and Vittorio De Sica took kids right off the streets of Rome. In England, Director Carol Reed put Bobby Henrey in Graham Greene's exacting psychological study, The Fallen Idol, which was about the abrupt and shattering end of childhood...
...added ingredient is a local restaurateur, Vittorio Bruno (Cesare Siepi), who worships Carmelina and is shunned by her as if he were the prime exhibit in an article called "Italians Are Lousy Lovers." Opera Star Siepi has a voice of hurricane force, but he seems to have graduated from the formaldehyde school of acting. Carmelina's dances look like a jogger's nightmare. There are some songs that might bear rehearing-It's Time for a Love Song, One More Walk Around the Garden, I'm a Woman-but in some other musical. -T.E.Kalem
...tedium is in no way relieved by Altman's film-making technique. In place of his usual brio, the director has used pretentious cinematic gimmicks, monochromatic sets and portentous, dissonant music. He reduces an all-star international cast-Newman, Fernando Rey, Bibi Andersson, Brigitte Fossey, David Langton, Vittorio Gassman-to interchangeable (and often indistinguishable) ciphers. He blurs the perimeters of his images with Vaseline. Though two writers assisted Altman on the screenplay, the witless lines amount to paint-by-number existentialism: "Every time you cheat death, you feel the pure thrill of life...