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Partner (1968) More at IMDbPro »Partner. (original title)

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Release Date:
25 October 1968 (Italy) See more »
Bernardo Bertolucci, along with co-scenarist Gianni Amico, used Dostoievski's 1846, pre-imprisonment novella The Double: A Petersburg Poem, which they moved to Italy and updated to the pro-Vietcong student-protest present, | Add synopsis »
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Bernardo Bertolucci to head Venice Jury
 (From 9 May 2013, 5:02 AM, PDT)

User Reviews:
PARTNER (Bernardo Bertolucci, 1968) **1/2 See more (11 total) »


  (in credits order)
Pierre Clémenti ... Giacobbe I and II
Tina Aumont ... Salesgirl
Sergio Tofano ... Professor Petrushka
Giulio Cesare Castello ... Professor Mozzoni
Romano Costa ... Clara's father
Antonio Maestri ... Professor 'Tre Zampe'
Mario Venturini ... Professor
Alessandro Cane ... Student
Gianpaolo Capovilla ... Student (as Gian Paolo Capovilla)

Ninetto Davoli ... Student
Vittorio Fanfoni ... Student
Luigi Antonio Guerra ... Student (as Luigi Guerra)
Giuseppe Mangano ... Student
Giancarlo Nanni ... Student
Stefano Oppedisano ... Student
Salvatore Samperi ... Student
Umberto Silva ... Student

Stefania Sandrelli ... Clara
rest of cast listed alphabetically:
Rosemary Dexter
Gian Vittorio Baldi ... Detectiv superintendant (uncredited)
Rochelle Barbieri ... Student (uncredited)
Sandro Bernadone ... Student (uncredited)

Jed Curtis ... Traveler (uncredited)
David Grieco ... Student (uncredited)
Nicole Laguigner ... Student (uncredited)
Jean Robert Marquis ... Student (uncredited)
John Ohettplace ... Pianist (uncredited)
Sibilla Sedat ... Student (uncredited)

Directed by
Bernardo Bertolucci 
Writing credits
Bernardo Bertolucci (story and screenplay) &
Gianni Amico (story and screenplay)

Fyodor Dostoevsky  novel "The Double" (uncredited)

Produced by
Giovanni Bertolucci .... producer
Original Music by
Ennio Morricone 
Cinematography by
Ugo Piccone 
Film Editing by
Roberto Perpignani 
Production Design by
Francesco Tullio Altan 
Costume Design by
Nicoletta Sivieri 
Makeup Department
Marcella De Marsi .... hair stylist
Lamberto Marini .... makeup artist
Second Unit Director or Assistant Director
Gianluigi Calderone .... assistant director
Sound Department
Manlio Magara .... sound
Giorgio Minoprio .... boom operator
Romano Pampaloni .... sound mixer
Camera and Electrical Department
Giorgio Aureli .... assistant camera
Saverio Diamante .... camera operator (as Saverio Diamanti)
Marilù Parolini .... still photographer
Editorial Department
Maurizio Mangosi .... assistant editor
Giancarlo Venarucci .... assistant editor
Music Department
Bruno Nicolai .... conductor
Other crew
Fabio Garriba .... continuity (as Fabio Garribba)
Marcello Papaleo .... assistant unit manager
Aldo U. Passalacqua .... unit manager
Pietro Sassaroli .... cashier
Attilio Viti .... production secretary

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Partner." - Italy (original title)
See more »
105 min
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)

Did You Know?

Movie Connections:
References Battleship Potemkin (1925)See more »
SplashSee more »


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11 out of 16 people found the following review useful.
PARTNER (Bernardo Bertolucci, 1968) **1/2, 24 August 2006
Author: MARIO GAUCI ( from Naxxar, Malta

I had always wanted to watch this rarely-seen (and most Godardian) of Bertolucci films ever since I read about it in an old British film magazine of my father's. However, having caught up with it now thanks to No Shame's 2-Disc Special Edition, I have to say that I was underwhelmed, finding it overly didactic and, unfortunately, Godard's trademark dynamism and humor (in his early work, at least) are seldom evident here.

While interesting and quite admirable in itself - being a loose updating of Dostoyevsky's "The Double" - the film feels dated today (especially its consumerist critique, represented by a silly musical number about "Dash", a detergent which ironically is still in use nearly 40 years on!); having said that, Godard had already attacked the same targets in 2 OR 3 THINGS I KNOW ABOUT HER (1967). Besides, Pierre Clementi's cold and arrogant personality doesn't allow much audience sympathy. Bertolucci's technique is suitably experimental - one of his most surreal touches is having Clementi's large shadow, cast on a wall, turning against him and, in a remarkable sequence, despite Morricone's lush romantic music, a date between Clementi and Stefania Sandrelli consists of them being "driven" in a stationary vehicle with Clementi's butler making do as chauffeur i.e. acting out the machine's sounds with his mouth! Incidentally, a similar scene was depicted in Jerzy Skolimowski's LE DEPART (1967), another experimental film I caught up with recently and which also left me somewhat disappointed.

Apart from reflecting on politics and modern society, the script contrasts contemporaneous attitudes in theatre and cinema. Sandrelli, although looking positively gorgeous as a blonde, seems uneasy in this environment (even if she did go on to make 3 more films with the director) but Tina Aumont's contribution (who expires unconventionally at the hands of Clementi at the end of the afore-mentioned musical number) is rather delightful. The film's colorful widescreen photography makes great use of its Rome locations, while Ennio Morricone's eclectic score serves more often than not as ironic comment on the action.

Not an easy title to appreciate, therefore, and Bertolucci has certainly made more involving films but, at least, the DVD extras prepared by No Shame (this is their first release I've sampled) - particularly the fascinating and lengthy interviews with Bertolucci and film editor Roberto Perpignani - are excellent indeed! An interesting piece of information gleaned from the supplements is that the film's script was rarely adhered to and neither were current conventional Italian filming techniques (the sound was recorded live); besides, Pierre Clementi flew every weekend to Paris and reported back to Bertolucci with the most up-to-date slogans spouted by the protesters in those famous May 1968 riots, thus enabling him to incorporate them into his film like "Vietato Vietare" (It is forbidden to forbid) and "Proibito Proibire" (It is prohibited to prohibit)...

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