Novecento

'1900' is a historical film that has a history of its own, one that probably hasn't ended yet. The perception of critics and the public about this film seems to have changed several times already during its hectic launch in 1976. Made four years after the success but also after the scandals sparked by 'Last Tango in Paris', the film has benefited from generous funding and full creative freedom for director Bernardo Bertolucci. How did he use the freedom and the funds he had at his disposal? Making a monumental film. Monumental in terms of duration, which made it non-screenable in cinema halls in its full format over five hours. Monumental with a distribution gathering on screen some of the great international movie stars of the 70's. Monumental also in style and as a cinematic genre - a 45-year historical fresco of the history of Italy, between the day of Verdi's death in 1900 and the day of Mussolini's death in 1945. Those who study historical monuments know well that even the most beautiful and the more impressive are in most cases programmatic, insist on transmitting a political or patriotic message or both, and are not a good source for discovering and presenting historical truth. This is what happens with '1900' which is a spectacular film, with many memorable scenes, with wonderful actors in generous roles, but which is deeply distorted by a much too explicit political message, reflecting the director's political ideas in an almost propagandist style.

I viewed the full version of the film, which is presented today at festivals or cinematheques in two series, each over two and a half hours. This is different of what most viewers saw on screen in the 1970s - shortened versions (there were several) - perhaps more accessible for the endurance of the viewers, but also losing much of the epic construction of the film, which has its purpose. It is the story of two boys born on the same day of the first year of the 20th century. Alfred Berlinghieri (who will grow to be Robert De Niro) is the offspring of a big land owners family in an agricultural area of Italy, whose patriarch is his grandfather (Burt Lancaster, as descending from 'The Leopard' in the role he had played 13 years ago). Olmo Dalco (who will grow up to be Gérard Depardieu) is born into the family of peasants deprived of any property and rights, who work on the estate under semi-slavery conditions. The conflicts of the grandparents are transmitted from generation to generation until the two boys born under the same sign and separated by a social abyss. The relationship between them, marked by friendship, rivalry and class struggle, will develop throughout Italy's troubled history, which includes two world wars, the rise and fall of fascism, and the popular revenge that followed.

From an artistic perspective, '1900' has many sublime moments, it can be said that it is almost a masterpiece. First of all the acting performances: De Niro who was acting here just after 'The Godfather: Part II' and 'Taxi Driver' lends to his character all the parasitic insecurity and the degenerate vulnerability of the descendant of a social class that is fighting oblivion. Gérard Depardieu creates here, I believe, his first big role, full of strength and passion. Exceptional is also Donald Sutherland, an actor who has never hesitated to take on negative composition roles, here being the fascist Attila Mellanchini, an exemplary villain. It adds much authenticity to the use of amateur extras, the inhabitants of the Italian region where the story takes place. The cinematography includes many memorable takes, in some cases serving as backdrops for scenes carefully constructed and choreographed, in the good style of Italian operas, even including songs and dances. What works well in operas on stage, however, is not necessarily suitable for a cinematic historical fresco. The excess of propaganda rhetoric finally harms the message and sounds strident and unconvincing today. There are far too many revolutionary speeches in '1900' of the kind that were more suited to Soviet films of the 1930s or scenes that touch the ridicule such as the one in which a simple peasant hero chooses death for the pleasure of whistling a revolutionary song in the nose of the fascists. The Marxist Bertolucci chose to present an explicit revolutionary vision, which was more in line with the propaganda on the other side of the Iron Curtain in those years, but as far as I know his film was not successful there or not even distributed in many Communist countries because of its naturalistic approach soaked with too much nudity and violence for the puritanistic communist censors. Only today, in perspective, from the historical distance created by time, we can enjoy the many cinematic delights of '1900'.