Partner (1968)

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Movie
German title partner
Original title partner
Country of production Italy
original language Italian
Publishing year 1968
length 105 minutes
Rod
Director Bernardo Bertolucci
script Bernardo Bertolucci
Gianni Amico
music Ennio Morricone
camera Ugo Picone
cut Roberto Perpignani
occupation

Partner is an avant-garde film by the film director Bernardo Bertolucci , which is based on the novel The Double (1846) by Fyodor Dostoyevsky . It is considered a typical 1968 film and was hardly recognized by critics or audiences.

Bertolucci explained his choice of Dostoevsky material by saying that after having rejected several of his own scripts, he no longer had the strength to write a new one and, at the request of a producer, reached for the first book on his bedside table. Dostoyevsky's book forms a starting point, but an action at all is only partially recognizable in Partner . Some authors think there is no need to understand them. The main character Giacobbe imitates the gestures of Nosferatu (1922) and kills a piano player in a strangely lit room. He is served by his landlord Petruschka. He tries to enter the house of his loved one and is turned away. A doppelganger appears, and in the following this and the original are often indistinguishable for the audience. When he amused the woman with a dance at a party in the house in question, he was thrown out. He strangles his beloved girl after a bus trip through Rome, teaches his class theater and challenges them to a revolution, to a radical new conception of theater. Eventually, he kills a young woman who sells laundry detergent door to door and himself.

In addition to the main character's struggle with his fears and desires, with parts of his personality, Partner expresses criticism of consumption and advertising. Ultra-left positions also occupy a large area, the North Vietnamese flag is often featured prominently, and Giacobbe gives instructions on how to make a Molotov cocktail . Theories of the theater artist Antonin Artaud are also dealt with . “ The theater of cruelty, thought through to the end - isn't it the revolution? "

Of all of Bertolucci's films, Partner has the greatest influence of Godard's style. The stacks of books, for example, are copied from Godard's Chinese woman who was created the year before . Partner is so strongly influenced by Godard's motifs that Bertolucci's unique handwriting is completely obliterated.

When Bertolucci was able to tackle Partner , he had four years of no feature film production behind him, which seemed unbearable to him, while Godard was able to shoot several films per year. The theoretical buildings and fantasies that had built up in four years poured into Partner , who, in his opinion, had become his most unnatural film. "Partner was an experience lived as an illness, a completely neurotic film, sick and schizophrenic," whereas 1900 is a healthy film. “ Behind our films was the sadism of a cinema that forced viewers to cut themselves off from their emotional world. It wanted to force him to think at all costs (...) But the masochistic attitude of doing things that nobody wanted to see, of making films that the audience refused to accept, also existed. The fact that we were afraid of an adult relationship with the audience made us seek refuge in a perverted and infantile cinema. From that point of view, Partner is really something of a 1968 cinema manifesto. “The cause is a misunderstanding of Brecht's alienation dramaturgy that is overshot, a turning away from the magic of cinema. In Partner , Bertolucci's admiration for Godard is still undimmed. Although Bertolucci also dealt with Godard after Partner in the Great Error , the Last Tango in Paris and the tragedy of a ridiculous man , he took a more distant, sometimes aggressive view.

Many critics, whether convinced by the film or not, see it as an expression of the times. They also recognized its anti-commercial intent. Partner was anything but popular, and according to Bertolucci, the aim for political films should be that they are popular. Partner wants to " convince of things that are not convincing ". Dietrich Kuhlbrodt , who lived in a political fringe group for a while, judges: “ With these growths, roots, webs, deceptions and delusions, Partner has become the document for us today that it was in 1968 when it proved the failure of the academic revolution while she was still in the swing. Bertolucci's Partners is the documentary about the Bertoluccis who were our partners. "The lexicon of international films sees the film as having a complicated structure, charged with aggressive social criticism."

Individual evidence

  1. ^ Tonetti, Claretta Micheletti: Bernardo Bertolucci. The cinema of ambiguity. Twayne Publishers, New York 1995, ISBN 0-8057-9313-5 , p. 49
  2. ^ Kuhlbrodt, Dietrich: Bernardo Bertolucci. Film 24 series, Hanser Verlag, Munich 1982, ISBN 3-446-13164-7 , p. 121
  3. Tonetti 1995, p. 60
  4. Kuhlbrodt 1982, p. 124
  5. Jump up ↑ Loshitzky, Yosefa: The radical faces of Godard and Bertolucci. Wayne State University Press, Detroit 1995, ISBN 0-8143-2446-0 , pp. 15 and 56
  6. Ungari, Enzo and Ranvaud, D .: Bertolucci par Bertolucci, Calmann-Lévy, 1987, ISBN 2-7021-1305-2 , p. 51
  7. Bernardo Bertolucci in Gili, Jean: Le cinéma italien, Paris 1978, p. 56 "Partner est une éxperience que j'ai vécue comme une maladie, c'est un film totalement névrotique, un film malade, schizophrène."
  8. Ungari / Ranvaud 1987, p. 52. “Derrièrre nos films se cachait le sadisme d'un cinéma qui obligait le spectateur à se couper de son emotivité. Il voulait le forcer, à tout prix, à réfléchir (...) Mais l'attitude masochiste qui consistait à faire des choses que personne ne voulait voir, à réaliser of the film que le public refusait, existait également. Le fait d'avoir peur d'un rapport adulte avec le public nous poussait à trouver refuge dans un cinéma pervers et infantile. De ce point de vue, partner est vraiment une espèce de manifeste du cinéma soixante-huitard. "
  9. Tonetti 1995, p. 15
  10. Tonetti 1995, p. 73
  11. Cineaste Magazine, Winter 1972-73, New York
  12. Tonetti 1995, p. 72
  13. Kuhlbrodt 1982, p. 128
  14. partner. In: Lexicon of International Films . Film service , accessed March 25, 2017 .Template: LdiF / Maintenance / Access used 

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