7.7/10
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1900 (1976)

Novecento (original title)
Unrated | | Drama, History | 4 November 1977 (USA)
The epic tale of a class struggle in twentieth century Italy, as seen through the eyes of two childhood friends on opposing sides.

Writers:

Franco Arcalli (screenplay by), Giuseppe Bertolucci (screenplay by) | 1 more credit »
Reviews
Popularity
3,008 ( 263)

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2 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Robert De Niro ... Alfredo Berlinghieri
Gérard Depardieu ... Olmo Dalcò (as Gerard Depardieu)
Dominique Sanda ... Ada Fiastri Paulhan
Francesca Bertini ... Sister Desolata
Laura Betti ... Regina
Werner Bruhns Werner Bruhns ... Ottavio Berlinghieri
Stefania Casini ... Neve - Epileptic Woman
Sterling Hayden ... Leo Dalcò
Anna Henkel-Grönemeyer ... Anita the Younger (as Anna Henkel)
Ellen Schwiers ... Amelia
Alida Valli ... Signora Pioppi
Romolo Valli ... Giovanni Berlinghieri
Bianca Magliacca Bianca Magliacca ... Peasant Woman
Giacomo Rizzo Giacomo Rizzo ... Rigoletto
Pippo Campanini Pippo Campanini ... Don Tarcisio
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Storyline

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 1900 to about 1945, and focuses mainly on the rise of Fascism and the peasants' eventual reaction by supporting Communism, and how these events shape the destinies of the two main characters. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Plot Synopsis

Taglines:

An Epic Masterpiece of Friendship and Betrayal See more »

Genres:

Drama | History

Certificate:

Unrated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | France | West Germany

Language:

Italian

Release Date:

4 November 1977 (USA) See more »

Also Known As:

1900 See more »

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Box Office

Budget:

$9,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

(heavily cut) (R-rated) | (2 parts) | (heavily cut) | (heavily cut) | (Part I) | (Part II)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The full uncut version (five hours and seventeen minutes) is available in DVD since late 2006 in a two-disc set, including some interviews with Bernardo Bertolucci. See more »

Goofs

In the movie, Olmo is depicted as coming back from World War One, while Alfredo, even though conscripted, manages to stay at home thanks to his father's connections. In reality, people born in 1901 (like Olmo and Alfredo) were never conscripted to fight in the war, as they were only 17 when it ended in November 1918. The last ones to be conscripted in Italy where those born in 1899. See more »

Quotes

Alfredo Berlinghieri: [in the cowshed] My grandfather hanged himself in here, you know.
See more »

Alternate Versions

Original Italian version is 311 minutes long and was released as two separate films (Novecento, part 1 & 2). US R-rated version is 243 minutes long and deletes several scenes, including an explicit one in which a prostitute masturbates Robert De Niro and Gérard Depardieu. A restored integral version was re-released in the USA in 1993 with a NC-17 rating. See more »

Connections

References Jules and Jim (1962) See more »

Frequently Asked Questions

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User Reviews

 
Flawed, yet great
19 July 2003 | by zetesSee all my reviews

An epic about Italian political history of the first half of the 20th Century, detailing the lives of two men born on the same day. Olmo (played by Gerard Depardieu as an adult) is the bastard child of peasants and is raised to be a socialist. Alfredo (Robert De Niro) is the son of a wealthy family and will someday become lord and master of all the peasants on his land. He's a pleasant man, not cruel like his father, but he won't go out of his way to help those below him in status (including Olmo, who is his closest friend and companion). It's a huge film, and very sloppy. I would guess it would be very sloppy even in its original version (the English language version is an hour shorter at least). My biggest problem with the film is the character of Olmo. As a child (played by Roberto Maccanti), he exhibits daring and independence. As an adult, he seems like a sponge and he kind of drops out of the last third of the picture, it seemed to me. My interest dropped in the character because, first, the character does not seem to follow from childhood to adulthood, and, second, Depardieu gives a dull performance. He's handsome, but in the kind of way that makes you forget that he even exists. Maccanti, as young Olmo, leaves a much bigger impression. My second biggest problem with the film is the treatment of politics. It's no secret where Bertolucci's sympathy lies, with the communists. That's fine by me, and it's good that he has Alfredo not as the villain but as a man who turns his back and continues to live his life as a wealthy man. But there are Fascists in the film, and they are lead by Donald Sutherland. Sutherland is so evil in this film it becomes amusing. He'll do anything to get what he wants, including killing old women, children, and he even headbutts a cat! I have no real problem with showing the Italian Fascists as evil, but this is cartoonishly evil. Sutherland's character's name: Attila. No sh*t! On the other hand, I cannot help but admit that Donald Sutherland has all the most memorable scenes in the film. He may be more or less one dimensional, but I'll never forget his wicked grin, and I'll never forget the splattered blood on his forehead from that cat! Robert De Niro does a lot with his role, which is the most complex in the film, probably. His performance here matches his best work. Alfredo's wife is played by Dominique Sanda. She also gives an exceptional performance, although her character could have been (and might have been, in the full version) better developed. While I have some major problems with the overall substance of the film, there's no doubt there's a genius at work here. Several, actually. Bertolucci's direction is as good as it ever was, and his ambition seems, at least for a while, peerless. He may have had several better films, but this is as much a peak in his direction as Last Tango in Paris or The Conformist. Helping him achieve greatness far beyond what should have resulted are Vittorio Storaro, providing gorgeous, sweeping photography, and Ennio Moricone, ever the trooper with another exceptional musical score. 1900, despite heavy flaws, is indeed a great film.


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