1900 (1976)
Directed by Bernardo Bertolucci
The epic tale of a class struggle in twentieth century Italy, as seen through the eyes of two childhood friends on opposing sides.
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What critics compared 1900 to
He also saw a chance to make an American movie in the tradition of Luchino Visconti's The Leopard (1963), Bernardo Bertolucci's 1900 (1976), and Sergio Leone's Once Upon a Time in the West (1968) and Once Upon a Time in America (1984): a bloody, wide-screen epic that mixes elemental stories of love and revenge with a vision of the larger historical forces that shaped the capitalist society we know today.
By all means, in the sense that Paul Thomas Anderson's " Magnolia " or Gus Van Sant's " My Own Private Idaho " or Martin Scorsese's " New York, New York " or Bernardo Bertolucci's "1900" are follies.
There will be plenty of people (who haven’t seen Bertolucci’s "1900" or never heard of Elem Klimov’s "Come and See," or Visconti’s "The Damned," or have forgotten Kubrick’s "Full Metal Jacket") raving about this being the greatest war movie ever made.
Legendary director Bernardo Bertolucci (“1900”) crafts a return to social revolt in the form of sexual pursuits by a trio of late ‘60s teenaged students in this engaging yet insufficient movie.
In this respect it is an interesting and, in its historical implications, perhaps despairing development of the Utopia Bertolucci dreamed into being in 1900 (Novecento) (1976).
While it's not on a par with his great politics-and-passion epics "1900," "The Conformist," and "The Last Emperor," it vividly captures the tumultuous mood of the late '60s.
The Conformist, Last Tango in Paris and 1900 set a high bar for any filmmaker who’s probed the mysteries of sex in their wake, Bertolucci included.