Before the Revolution, Italy, 1964, dir. Bernardo Bertolucci, starring Adriana Asti, Francesco Barilli
Story: In Parma, a young Communist feels torn between his romantic hunger for life, the security of his bourgeois background, and his ideological duty to the cause. Meanwhile, he carries on an affair with his emotionally unstable aunt.
The opening scene of Before the Revolution, or Prima della rivoluzione as it’s more poetically known in Italy, stands among the most elating passages in cinema. You can’t quite pinpoint how this works; trying to relate the alchemy of these moments in typed prose, my fingers tie themselves in knots. Bertolucci, only twenty-two when he shot the movie, would go on to direct more lush, illustrious sequences especially once he began to use color. But somehow here we feel we are getting closest to the pulsating consciousness powering his vision - a sensitivity and sensibility swooning with the pregnant possibilities and numinous actualities of the moment. What exactly do we see? Close-ups of Fabrizio (Frencesco Barilli), our hero, which loom like wall-sized portraits, even on a small screen; soaring overhead shots of Parma as if Bertolucci began to run through his hometown and in his enthusiasm sprouted wings and began to fly. What do we hear? Fabirizo’s neurotic narration, a mixture of lush language and furious, uneasy denunciation, underpinned by Ennio Morricone’s lush, heart-bursting score – fully invested in its sense of operatic intensity, and as unashamed of it as Fabrizio is wary. This film then is a sensuous experience, maybe even first and foremost, but it is also a film of ideas, and a dialectic exists between Fabrizio’s notions and his feelings (as well as amongst the various feelings themselves).