Short films and documentaries by Bernardo Bertolucci

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In addition to his feature-length films , the Italian director Bernardo Bertolucci also shot a few short films and documentaries .

history

First steps with silent films

He made his first short film in the summer of 1956 at the age of 15: La teleferica , on 16 mm, without sound and without further editing . It is about children who set off to find a cable car. However, your search remains unsuccessful because the train is now underground. Bertolucci later realized that John Huston's films had inspired him to write this story of futile pursuit.

A few months later, La morte del maiale was created, also dumb . Instead of leaving for school, a farmer's child hides and watches the peasants slaughter a pig at dawn. Bertolucci described a similar scene in his large-scale production in 1900 (1976) as a remake of his early work; however, he found the first attempt more successful.

Documentaries in the 1960s

After his first full-length feature films, Bertolucci struggled to raise money for further projects and filled the time with commissioned work . La via del petrolio , a documentary for Italian television, co-produced by the Eni oil company , was broadcast in early 1967. It consists of three episodes and is black and white. It describes the extraction on Iranian oil fields (1st origin ), the shipping of the raw material to Genoa (2nd Viaggio ) and the further transport via pipelines to Germany (3rd Attraverso l'Europa ). With the film, Bertolucci tried to overcome the directorial rules of documentaries as far as it was allowed. This was accompanied by the recordings of Il canale , a 12-minute, color-shot by-product of La via el petrolio .

Furthermore Bertolucci created at this time the episode agony ( Agonia ), which in the omnibus film Love and Anger came in (1967). The film, whose original title Il fico infructoso referred to the parable of the fig tree without fruit from the Gospel of Luke (13.6–9 ELB ), is about an old man who has done nothing wrong, but also out of cowardice for life nothing good; the dying man was more of a dead person during his lifetime, “ one of the lukewarms from the third song. "

Politically motivated short film in the 1970s

The film La salute è malata o I poveri muiono prima (Italian for “The health system is sick and the poor die first”) was made in the run-up to the local elections in Rome in 1971 as a commissioned work for the Italian Communist Party with the help of representatives of the CGIL union . Bertolucci sneaked into a Roman hospital with a camera team and showed the poor sanitary conditions, the accumulation of sick people in the corridors and even on the toilet. The document (35 minutes on 16 mm) was projected onto the walls of houses from a moving car during the election campaign. These demonstrations were accompanied by activists who distributed leaflets .

Film for the soccer world championship

For the 1990 FIFA World Cup in Italy turned renowned directors short articles, each celebrating a host city and aired before the start of a game. In this project, summarized under the title 12 registi per 12 città , Bertolucci portrayed the city of Bologna and used electronic special effects in the production of the film.

Late work (after 2000)

After the turn of the millennium, Bertolucci took part in the omnibus film Ten Minutes Older: The Cello (2002) with the episode Histoire d'eaux (French for "The Story of Water") , taking up an old Indian legend that a character was already orally in Before the Revolution (1964) had told.

Individual evidence

  1. ^ Kuhlbrodt, Dietrich: Bernardo Bertolucci. Series Film 24, Hanser Verlag, Munich 1982, ISBN 3-446-13164-7 , p. 99. Witte, Karsten: Der late Mannerist. in the same book, p. 11. Ungari, Enzo: Bertolucci. Bahia Verlag, Munich 1984, p. 13
  2. ↑ Bernardo Bertolucci 1984 in: 'Dall'anonimato al successo, 23 protagonisti del cinema italiano raccontano', printed in: F. Gérard, TJ Kline, B. Sklarew (eds.): Bernardo Bertolucci: Interviews . University Press of Mississippi, Jackson 2000, ISBN 1-57806-204-7 , p. 179
  3. ↑ Kuhlbrodt 1982, pp. 99-100; Ungari 1984, p. 13; Tonetti, Claretta Micheletti: Bernardo Bertolucci. The cinema of ambiguity. Twayne Publishers, New York 1995, ISBN 0-8057-9313-5 , p. 4
  4. ↑ Bernardo Bertolucci 1984 in: Dall'anonimato al successo, 23 protagonisti del cinema italiano raccontano , printed in: F. Gérard, TJ Kline, B. Sklarew (eds.): Bernardo Bertolucci: Interviews . University Press of Mississippi, Jackson 2000, ISBN 1-57806-204-7 , p. 180
  5. ↑ Bernardo Bertolucci in conversation with Film Quarterly , vol. 20, no. 1, autumn 1966, printed in: F. Gérard, TJ Kline, B. Sklarew (eds.): Bernardo Bertolucci: Interviews . University Press of Mississippi, Jackson 2000, ISBN 1-57806-204-7 , p. 20
  6. ↑ Kuhlbrodt 1982, p. 115; Ungari 1984, p. 238; Tonetti 1995, p. 47
  7. ^ Kuhlbrodt, Dietrich: Bernardo Bertolucci. Film 24 series, Hanser Verlag, Munich 1982, ISBN 3-446-13164-7 , p. 117
  8. ↑ Bernardo Bertolucci in conversation with Il giorno , September 22, 1967, printed in: F. Gérard, TJ Kline, B. Sklarew (eds.): Bernardo Bertolucci: Interviews. University Press of Mississippi, Jackson 2000, ISBN 1-57806-204-7 , p. 29
  9. ↑ Bernardo Bertolucci in conversation with Positif , March 1973, pp. 36–37; see also Kuhlbrodt 1982, p. 158 and Ungari 1984, p. 241
  10. ↑ Tonetti 1995, p. 250