Luna (1979)

While touring in Italy, a recently-widowed American opera singer has an incestuous relationship with her 15-year-old son to help him overcome his heroin addiction.

Director:

Bernardo Bertolucci

Writers:

Franco Arcalli (story), Bernardo Bertolucci (story)

Stars:

Jill Clayburgh, Matthew Barry, Veronica Lazar

Nominated for 1 Golden Globe. Another 1 win.

Cast

Cast overview, first billed only:
Jill Clayburgh	...	Caterina Silveri
Matthew Barry	...	Joe Silveri
Veronica Lazar	...	Marina
Renato Salvatori	...	Communist
Fred Gwynne	...	Douglas Winter
Alida Valli	...	Giuseppe's Mother
Elisabetta Campeti	...	Arianna
Franco Citti	...	Man in Bar
Roberto Benigni	...	Upholsterer
Carlo Verdone	...	Director of Caracalla
Peter Eyre	...	Edward
Mustapha Barat	...	Mustafa (as Stéphane Barat)
Pippo Campanini	...	Innkeeper
Rodolfo Lodi	...	Maestro Giancarlo Calo
Sara Di Nepi	...	Concetta (as Shara Di Nepi)

Storyline

Recently widowed American opera diva Caterina takes her teenaged son Joe with her on a long singing tour to Italy. Absorbed in her hectic work in various Verdi operas around Rome, Caterina is soon shocked to discover that her troubled and lonely son has become a heroin addict. Her desperate attempts to wean the youth off the drug result in an incestuous relationship, but also in a possibility to reunite Joe--maybe even herself--with his real father, whose existence she has kept a secret from him.

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Plot Keywords:

mother son incest | drug addict | incestuous desire | desperate mother | drug addiction | 

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Taglines:

Catherine & her son share a desire that will shock you.

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Genres:

Drama

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Certificate:

R

Details

Country:

Italy USA

Language:

Italian English

Release Date:

30 September 1979 (USA)

Also Known As:

Luna

Filming Locations:

Del Vascello cinema, Montverde Vecchio, Rome

Company Credits

Production Co:

Fiction Cinematografica S.p.a.,Twentieth Century Fox

Technical Specs

Runtime:

142 min

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Bernardo Bertolucci reportedly admitted that Carlo Verdone's character is an imitation of Franco Zeffirelli, who is also an appreciated opera director.

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Quotes

Joe Silveri: I want to be inside you.
Arianna: How?
Joe Silveri: Help me get my jeans off.
[She does this, more forcibly than he had expected]
Joe Silveri: Christ! You didn't have to pull them all the way off. Now yours.
[He watches her with adoration as she undresses]
Joe Silveri: You look better than Marilyn Monroe!
Arianna: And now?
Joe Silveri: Now we kiss.
[Which they do, very passionately]
[...]

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Connections

Referenced in Tony Manero (2008)

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Soundtracks

Saint-Tropez Twist
Written by Mario Cenci (as Cenci), Peppino Di Capri (as Faiella)
Performed by Peppino Di Capri

User Reviews

it's a flawed, schizophrenic artistic feat

In a way I feel sorry for Bernardo Bertolucci's La Luna, though maybe more for Bertolucci than the film itself. Having come off of the monumental undertaking of 1900, he probably wanted to still keep the challenging creative juices flowing, and in doing so concocted an idea surrounding a mother and son who lose their closest significant other and go to Rome, only to get dragged into their own created mire of drug addiction, self-absorption, and incest. This, of course, sounds quite meaty dramatically, at least when first heard. Executed on film it's another story, and the final script is probably what ends up making the film one of the weakest- if not THE weakest- I've seen from the director yet.

This still means that there's good chunks in there, even really wonderfully sordid moments of incredible familial dysfunction between mother and son. But unlike, for example, Malle's Murmur of the Heart, there's a lack of cohesion to any sense of firm psychology with either mother or son, and while things are fascinating and potent in dramatic spontaneity in the first two-thirds, there's a moment when things start to go downhill. By the end, I wondered if Bertolucci was about to break into the end of 8 1/2.

We're given a character study, that's for sure, and quite the two f***ed up characters. The mother is Caterina (Jill Clayburgh, a quasi Diane Keaton look-alike, however only sometimes talented and convincing), who's husband (in a great bit part by Fred Gwynne) dies suddenly while driving a car. Though both mother and son are devastated, they go to Rome so she can sing in the opera there. The son, meanwhile, is at that absolutely abhorrent age in anyone's life- 15- and at first is into some nothingness abound with a girl, and soon enough into a dead-end mind-set of heroin.

This alarms her mother, to be sure, and perhaps the most perfect scene of the film (whether this means it will shock or unsettle is another matter), is when the son plays piano for a moment when the mother tries to get her son to tell her about his drug problem, peers for a moment under his shirt, and then he erupts at her with physical violence. Finally it ends, and she goes to one side of the room with a look like 'what the hell just happened', and he goes off to do more junk. There's even the brilliant little insinuation, which is all that's needed, of a notion of desire when she's trying to peer at his arm.

Now, if there had been more scenes like this, consistently, it might even be one of Bertolucci's masterpieces. But, however, this is not to be. Towards the middle things even become shaky, as the same randomness of mind and spirit with the mother and son, this chronic sense of equal parts of nihilism, despair, gallows humor, and the oddness of bourgeois discontent with dark pasts, becomes something that Bertolucci isn't fully able to grab a hold of. And unlike in Last Tango in Paris, there's no Marlon Brando here to make things incredibly appealing with totally believable dread in the face of loss. Matthew Barry is decent in the part of Joe, the son, but also teeters on being annoying (which maybe is part of the desired effect, but still).

And the sense of how their push and pull relationship with his drug addiction as the center isn't fully resolved with the mother. Clayburgh's Caterina just isn't sympathetic, or empathetic, enough to get into her mind-set, because despite being interesting in her part of a somewhat un-fit parent who loves her son perhaps in the worst possible ways, and that both are crazy, it isn't enough to sustain what happens at the 2/3 mark...which is when Bertolucci and his writers pull out the "son, I'll take you back to your roots, and find your *real* father who made you a bastard" card, and everything goes downhill from there.

It's a mark of downhill quality that has almost been building, and it's troubling especially since a lot DOES work in morbid detail of the characters, and how operatic intonations somehow become involved in their plights. But Bertolucci tends to put the hammer down in both technique and substance, and only in the former does it really work. His and Vittorio Storaro's eye in this film is just as sharp and succulent as in their other collaborations, with the camera gliding seamlessly in some crucial ways, providing movement to just the slightest moments of emotional upheaval. Yet even in the least effective spot of the film, there are the moments, like when Joe plays drums with his fork and spoon at the table. Or the very awkward silence after the mother's sexual advances go very unheeded. In the end La Luna becomes more worthwhile to see for what doesn't work as opposed to what does.

While some might come away from it feeling that it's an uncompromising work of genius, I wouldn't, though it's not a failure either. It's a curious work of bravura testing of the limits of what people- in this case Americans- can be in such a European environment, and that the psychologies therein are as wobbly as a bad table leg.