Before the Revolution

Before the Revolution, Bernardo Bertolucci's second film, is kind of a mess. He was only 22 when he made it, and he must have made it immediately after he finished his first film, Grim Reaper. It's obvious that he's a genius from this film. Like I said, it's kind of a mess, but no more beautiful mess has ever been created in the cinema.

The story is difficult to follow at times, but it is basically about a young bourgeois man who falls in love with his young aunt. Their relationship is socially unacceptable, so it immediately begins to break apart. As it does, politics rush into the film, confused politics, probably representing Bertolucci's own conflicting feelings at this point. The whole film feels very personal.

I don't know. I really didn't catch too much of, well, what's going on. Which sounds bad, but there's a good reason for my missing everything: Bertolucci's direction is breathtaking. It is a nice cross between French New Wave and the Modernist movement that the Italian filmmakers were going through at the time. Bertolucci throws every single cinematic trick into the film that he can fathom. Everything works, though. It's showy, to be sure, but it's never less than one of the most beautiful things I've ever experienced. It never seems less than amazing. The emotions of the film - and they really hit home, even if the story is difficult to follow - are fractured and manic.

I need to watch Before the Revolution again. I feel, though, that even if I find it completely flawed the second time around, it could be nothing less than the greatest flawed masterpiece ever produced. 10 years after Before the Revolution, Bernardo Bertolucci directed what I consider my third favorite film, Last Tango in Paris. By then, he had perfected his style. I'll be adding another Bertolucci film to my list of favorites tonight.

One of the typical ploys of modernist artists has been to take a known work, and to use that as a basis for experimentation. In this case, Bernardo Bertolucci (at the age of 22!) took Stendhal's novel THE CHARTERHOUSE OF PARMA and used the basic plot and characters, only Bertolucci abstracted these elements, taking them for granted and simply creating a wide-ranging collage of impressions and emotions. But the central love affair between Fabrizio and his aunt, Gina (the names of the characters in the Stendhal), is the motivating heart of the film; the suggestions of incest, the need for secrecy, the impacted emotion because of the covertness: these provide PRIMA DELLA RIVOLUZIONE with a core of great integrity, so that the more "random" elements (the scene with the lament on the lake, the scene at the opera, the scene where the friend rides the bicycle in circles, etc.) are able to reflect on Bertolucci's feelings regarding politics, class, revolution, art, the search for belief.

PRIMA DELLA RIVOLUZIONE is one of the most youthful films ever made, as well it should be, since it was made by someone who was impossibly young at the time. I hate to say this, but it's the work of a prodigy, a gifted post-adolescent who is trying to find a form to contain his sometimes overwrought feelings about life, love, and politics. There had been many works catering to the teen crowd, movies like WHERE THE BOYS ARE or BEACH PARTY, but, aside from some of the works of Nicholas Ray (THEY LIVE BY NIGHT and REBEL WITHOUT A CAUSE), no film artist had yet tried to use the medium as a vehicle for a vision of youthful passions from the inside: Godard would follow with MASCULINE FEMININE and LA CHINOISE, Bellocchio with FISTS IN THE POCKET, Skolimowski with LE DEPART and DEEP END, but Bertolucci was pioneering when he made this movie, and the fact that it's "flawed" should not be held against it, as it represents the expression of a very young artist, trying to express his emotions as directly as possible.

Is it immoral for a nephew and aunt to have an affair? ...who cares? - the question is barely raised. This is the Italian New Wave, a cineaste's dream; forget the story, for style is everything.

Bertolucci's second film, at age 22, still owes a lot to his mentor Pasolini, but now he has taken on board Godard of "A Woman is a Woman" and Truffaut of "Jules and Jim". It's hopelessly overloaded with style but that makes it fascinating to watch. You never know what the camera is going to do next. A long monologue by Adrianna Asti contains so many zooms, pans, cross-cuts, reverse shots, asymmetrical framing, you name it - it's insane. You stop listening to what she is saying and just wonder what on earth Bertolucci is playing at. Playing at making movies I suppose.

It's all fairly aimless but is beautifully shot and the script is quite fine. Asti seems natural as the fragile aunt and Bertolucci makes the most of her - there are moments when she's nudging Audrey Hepburn. There's plenty of gay subtext - a notable feature of many Bertolucci films, for anyone apt to enquire into such things - it certainly assists interpretation.

Hardly juvenilia; if you're in the mood, this is a near masterpiece.

For a while, forget about Bernardo Bertolucci's "ventures into Hollywood" (for example, "Little Buddha," featuring Keannu Reeves) and find time to see his "little-known" work, "Before the Revolution" (his second feature film, which was made in his native country and when he was just 22 years old).

More than a "nostalgic" tribute to the "present," the film is closer in spirit and style to the French New Wave films (see, for example, Jean-Luc Godard's "A Bout de Souffle" and Francois Truffaut's "Jules et Jim";as a matter of fact, Bertolucci's film was contemporaneous with these works).

In the film, you'll find a bedazzling mixture of narrative styles (those relating to camera movements and angles, editing, photographic effects and musical score;my favorites are the "optical room" scene and the old man painting by the lakeside), characters who are always "running away" from something (from social conventions and pressures, from others as well as from themselves) and for whom to live is to discourse (with other people or with themselves), and a "romantic" and "apolitical" stance toward a relevant sociopolitical issue ( in this case, the workers' uprising and the Revolution of 1948).

Initially slow and hard to get by, but the film eventually engages the viewers' attention as "love" starts to develop between the aunt (Gina) and the nephew (Fabrizio), which other people may find "scandalous," but is treated in such a casual and indifferent manner that the result is "unaffecting" (much like the way the menage-a-trois was treated in "Jules et Jim"), and as one gets to know more (or does one?) the quirky and enigmatic characters.

It's strange to think that Bertolucci was only 23 when he did this film, but then it makes perfect sense cause the story loosely centers around a young man approaching adulthood. It's even stranger to realize that only 8 years later he directed 'The Last Tango in Paris' where his protagonist already experiences his midlife crises. Back in 1964 Bertolucci's main interest was not story telling but rather to find a new visual language to portray his generation. Heavily influenced by the Nouvelle Vague, Godard in particular, that he even mentions at some length here, Bertolucci is eager to break with as many (cinematographic) conventions as possible, but the imagery he develops in the process is so beautiful that this is a delight to watch from beginning to end. Also it serves as a reminder that there was actually a time when there seemed to be an alternative to capitalism, though the revolution is only talked about. The whole thing works like a kaleidoscope or mosaic of the time. At first I had trouble to follow the plot because scenes don't necessarily respond to each other in a cause and effect kinda way but once I realized that an ongoing story is not what this is about I was able to relax and enjoy the scenery even more. And though our heroes suffer from first signs of disillusion, back then everything seemed possible, whether it was changing our society or changing the aesthetics of cinema. What interesting times.