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By THR Staff. The death of Bernardo Bertolucci at 77 will come as a blow to anyone who grew up on Italian art house movies in their heyday. An intellectual and a sensualist capable of combining poetry and social issues in his films, the filmmaker was an ever-inventive auteur backed by the finest technicians of his day.
His eclectic talent moved nervously between Europe and Hollywood, China and the world, as his themes touched the topics that most piqued his curiosity, from politics and society to psychoanalysis and eroticism.
How many members of the audience bought a ticket for scenes like this is unknown, but it unquestionably made its contribution to pushing the envelope of sex in the movies. As a piece of filmmaking, Last Tango in Paris remains powerful, the story of two strangers who meet for intimate sexual encounters in a Paris apartment while refusing to exchange names. The ghost of his first wife haunts Paul, the Brando character, and his impersonality toward his lover Jeanne is the symptom of a man unable to love.
A warm, outgoing man himself, married to the British writer and director Claire Peploe, Bernardo stoically suffered through interviews with students writing theses on his films, like myself. His formidable intellect, which was ever scanning and, one imagined, judging those in front of him, made him a little fearsome, but he had the ready laughter of Italians to whom life has been good.
