Luna, La
Ohjaus:
Bernardo BertolucciKuvaus:
Vittorio StoraroSävellys:
Ennio MorriconeNäyttelijät:
Jill Clayburgh, Matthew Barry, Renato Salvatori, Fred Gwynne, Alida Valli, Franco Citti, Roberto Benigni, Carlo Verdone, Tomas Milian, Laura Betti (lisää)Juonikuvaukset(1)
Joe (Matthew Barry) is the son of famous opera singer Caterina Silveri (Jill Clayburgh); while Joe believes that Caterina's husband Douglas Winter (Fred Gwynne) is his biological father, the truth is that he was sired by Caterina's former lover, who is now living in Italy and working as a schoolteacher. Joe is moody and rebellious and needs a strong father figure to guide him and keep him in line. But Douglas is ineffectual and emotionally weak, and when Joe witnesses Douglas committing suicide, it sends the young man over the edge. In hopes of boosting her singing career, which has fallen into a rut, Caterina decides to move to Italy, with Joe in tow; Joe falls in with a dangerous crowd and becomes addicted to heroin, while Caterina, hoping to lure her son back to a safer and more healthy lifestyle, tries to become closer to him, which leads to a flirtation with incest. (jakelijan virallinen teksti)
(lisää)Arvostelut (1)
Although it may seem absurd, I was reminded of Prometheus by Ridley Scott in connection with Luna just a while ago. Both films of course belong to completely different genres, and the directors use different methods and want to appeal to different audiences, but the result is somehow equally poor compared to their potential, budget, and the director's name. Similar is the reaction of a significant part of film fans who seek and find something different in the film than what is actually there. Bernardo Bertolucci is, of course, too good a filmmaker for there to be no interesting image or scene in his film, but compared to what the exteriors and the actors he had at his disposal offered, it is a painful failure. However, the main problem remains the poor motivation and psychology of the characters, the unbelievable plot, the idiotic behavior of the (anti)heroes, and the overall screenplay. This psychological drama somehow fits into the atmosphere of the 70s and the category of films for art-house audiences. The controversy of the sexual relationship between a mother and a son, in my opinion, has already been exhausted, but this only brings out the shortcomings of the screenplay even more. Overall impression: 25%.
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