After her mother commits suicide, nineteen year old Lucy Harmon travels to Italy to have her picture painted. However, she has other reasons for wanting to go. She wants to renew her ... See full summary »
Set in Italy, the film follows the lives and interactions of two boys/men, one born a bastard of peasant stock (Depardieu), the other born to a land owner (de Niro). The drama spans from ... See full summary »
Robert De Niro,
This is the first film of Theo Angelopoulos' trilogy. The story starts in 1919 with some greek refugees from Odessa arriving somewhere near Thessaloniki. Among these people are two small ... See full summary »
A historical drama set in Roman Egypt, concerning a slave who turns to the rising tide of Christianity in the hopes of pursuing freedom while also falling in love with his master, the famous female philosophy and mathematics professor Hypatia of Alexandria.
Paris, spring 1968. While most students take the lead in the May 'revolution', a French poet's twin son Theo and daughter Isabelle enjoy the good life in his grand Paris home. As film buffs they meet and 'adopt' modest, conservatively educated Californian student Matthew. With their parents away for a month, they drag him into an orgy of indulgence of all senses, losing all of his and the last of their innocence. A sexual threesome shakes their rapport, yet only the outside reality will break it up. Written by
There were scenes in the script depicting much more blatant sexual relations between the characters of Matthew and Theo, but they were not filmed. Director Bernardo Bertolucci said, "The gay sex was in the first script, but I had a feeling that it was just too much stuff. It became redundant." Actor Michael Pitt said in an interview, "It was in the script and it's what I'd signed to do. But they said we weren't going to do that." See more »
At the end of the movie, inside the tent, Matthew was lying almost naked covered only by the flower robe between his legs. When he woke up, the robe somehow was already on his left arm. See more »
The first time I saw a movie at the cinématèque française I thought, "Only the French... only the French would house a cinema inside a palace."
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The word "events" is misspelled in the sentence stating "The wevents, characters and firms depicted in this photoplay are fictitious." See more »
The Innocents is Bertolucci's nostalgic reverie of the Past, Present, and Future.
Bertolucci dreamily reminisces of youths who long to experience new sensations of freedom unknown to them.
Underlying his dream, The Innocents depicts youths imitating art imitating youths, a powerful, universal cycle which revolves without end, propelling the revolutions that fuel humanity forward.
Although Bertolucci stages the film in 1968 Paris, he allows the essence of the film to meander wistfully from the revolutionary past as we gleefully remember it, to the present life as we dolefully (and regrettably) live it, and forward to the unknown future that brims with exciting possibilities of new revolutions.
His gives us three innocent youths desiring to plow forward into a hypnotic New World that titillates their senses and intellect.
However, the inexperienced innocents become overwhelmed by the raging life encompassing them; they lock themselves away, creating a dream world which enables them to safely explore New World ideals without affecting their innocence.
Their self-exilement turns revolutionary as they act upon exactly what they feel; abandoning Old World traditions, they allow their innocence to transform itself into experience, and they leave their dream-world behind.
Bertolucci reflects upon these sensory moments by injecting into the film snatches of real breakthrough European films, music, and sexual explicitness that inspired European youths to break away from Old World traditions. These films and songs captured moments of pure sensory freedom unimcumbered by afterward consequences.
As youths do in reality, the three innocents on screen embrace these "controversial" films and songs, and delight in their awakening sexuality. They desire to "experience" the exuberance exhibited in the films and music, without a care for the real impact of their actions.
These films and songs capture sensory moments without definitive endings, and the three innocents capture sensory-sexual moments without being tangled up in the consequences.
The Innocents becomes a piece of revolutionary nostalgia for all viewers: viewers who delightfully consume the novelty of the cinematic experience and viewers who condemn the film; the ultimate consequence occurs: the film is pushed into the cycle of youths imitating art imitating youths...
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