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La luna

  • 1979
  • R
  • 2h 22min
CALIFICACIÓN DE IMDb
6.4/10
5.6 k
TU CALIFICACIÓN
Jill Clayburgh and Matthew Barry in La 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.
Reproducir trailer0:35
1 video
66 fotos
Psychological DramaTragedyDrama

Durante una gira por Italia, una cantante de ópera estadounidense que acaba de enviudar mantiene una relación incestuosa con su hijo de 15 años para ayudarlo a superar su adicción a la heroí... Leer todoDurante una gira por Italia, una cantante de ópera estadounidense que acaba de enviudar mantiene una relación incestuosa con su hijo de 15 años para ayudarlo a superar su adicción a la heroína.Durante una gira por Italia, una cantante de ópera estadounidense que acaba de enviudar mantiene una relación incestuosa con su hijo de 15 años para ayudarlo a superar su adicción a la heroína.

  • Dirección
    • Bernardo Bertolucci
  • Guionistas
    • Franco Arcalli
    • Bernardo Bertolucci
    • Giuseppe Bertolucci
  • Elenco
    • Jill Clayburgh
    • Matthew Barry
    • Veronica Lazar
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.4/10
    5.6 k
    TU CALIFICACIÓN
    • Dirección
      • Bernardo Bertolucci
    • Guionistas
      • Franco Arcalli
      • Bernardo Bertolucci
      • Giuseppe Bertolucci
    • Elenco
      • Jill Clayburgh
      • Matthew Barry
      • Veronica Lazar
    • 46Opiniones de los usuarios
    • 40Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado y 2 nominaciones en total

    Videos1

    Official Trailer
    Trailer 0:35
    Official Trailer

    Fotos66

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    + 60
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    Elenco principal35

    Editar
    Jill Clayburgh
    Jill Clayburgh
    • Caterina Silveri
    Matthew Barry
    Matthew Barry
    • Joe Silveri
    Veronica Lazar
    Veronica Lazar
    • Marina
    Renato Salvatori
    Renato Salvatori
    • Communist
    Fred Gwynne
    Fred Gwynne
    • Douglas Winter
    Alida Valli
    Alida Valli
    • Giuseppe's Mother
    Elisabetta Campeti
    • Arianna
    Franco Citti
    Franco Citti
    • Man in Bar
    Roberto Benigni
    Roberto Benigni
    • Upholsterer
    Carlo Verdone
    Carlo Verdone
    • Director of Caracalla
    Peter Eyre
    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)
    Jole Silvani
    • Wardrobe Mistress
    • (as Iole Silvani)
    Francesco Mei
    • Barman
    Ronaldo Bonacchi
    • Barmen
    • Dirección
      • Bernardo Bertolucci
    • Guionistas
      • Franco Arcalli
      • Bernardo Bertolucci
      • Giuseppe Bertolucci
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Argumento

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    ¿Sabías que…?

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    • Trivia
      The Italian producers were so outraged by this film's story line that they forbid the director to shoot the film with a local cast and as such the roles played by Jill Clayburgh and Matthew Barry had to be changed to be Americans.
    • Citas

      Joe Silveri: Your face is a mess. I'll clean it up.

      [starts licking her face]

      Caterina Silveri: It's good.

      Joe Silveri: Hold still.

    • Versiones alternativas
      After being banned in the Canadian province of Ontario. 20th century fox agreed to make cuts to 7 scenes showing incest and the film was given a 'Restricted' rating.
    • Conexiones
      Featured in Sneak Previews: Meteor/Luna/And Justice for All/The Silent Partner/Nosferatu the Vampyre (1979)
    • Bandas sonoras
      Night Fever
      Composed by Barry Gibb, Robin Gibb and Maurice Gibb

      Performed by The Bee Gees

      Courtesy of RSO Records Inc.

    Opiniones de usuarios46

    Opinión
    Opinión
    Opinión destacada
    6/10

    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.
    • Quinoa1984
    • 19 feb 2007
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    Preguntas Frecuentes17

    • How long is Luna?Con tecnología de Alexa

    Detalles

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    • Fecha de lanzamiento
      • 29 de agosto de 1979 (Italia)
    • Países de origen
      • Italia
      • Estados Unidos
    • Idiomas
      • Inglés
      • Italiano
    • También se conoce como
      • Luna
    • Locaciones de filmación
      • Caracalla Thermals, Roma, Lacio, Italia
    • Productoras
      • Fiction Cinematografica
      • Twentieth Century Fox
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 22 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Mono

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