Before the Revolution
(1964)
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Before the Revolution
(1964)
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| Cast overview, first billed only: | |||
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Adriana Asti | ... |
Gina
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Francesco Barilli | ... |
Fabrizio
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Allen Midgette | ... |
Agostino
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Morando Morandini | ... |
Cesare
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Cristina Pariset | ... |
Clelia
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Cecrope Barilli | ... |
Puck
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Evelina Alpi | ... |
The little girl
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Gianni Amico | ... |
A friend
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Goliardo Padova | ... |
The painter
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Guido Fanti | ... |
Enore
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Enrico Salvatore | ... |
The priest
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Amelia Bordi | ... |
The mother
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Domenico Alpi | ... |
The father
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Iole Lunardi | ... |
The grandmother
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Antonio Maghenzani | ... |
The brother
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The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair after Agostino's funeral, then Gina confuses Fabrizio by sleeping with a stranger. Their visits to Cesare and then to Puck, one of Gina's older friends, a landowner losing his land, dramatize contrasting images of Italy's future. Their own futures are bleak. Written by <jhailey@hotmail.com>
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.