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Bernardo Bertolucci Net Worth Income Profile and Salary

Bernardo Bertolucci Net Worth Income Profile and Salary. Italian film director. His family atmosphere was marked by the presence of his father, Attilio Bertolucci, one of the poets and critics who sought to develop an aesthetic from Marxist conceptions. From a young age, Bertolucci liked to make literary compositions and to play with a small camera with which to reflect “the environment that life taught him”.

 

 

 

By the age of twenty, a friend of his father was going to make a profound impression on the soul of the young film student; It was Pier Paolo Pasolini, better known at first for his literary ability than for the cinematographic, which was to grant him universal notoriety. It is not surprising that young Bertolucci felt very early on influenced by the Marxist ideology, which was to be reflected in much of his later work. Over time Bertolucci himself considered his films as “desperate”, in that they denounced a situation that was tight and unfair. Nevertheless, a vision of his films seems to indicate that the director’s own comments were the result of the youthful eagerness to change the world through the cinema, current widespread among much of Western European youth of the sixties.

 

His first and dazzling contact with the cinema was in the hands of Pasolini, in Accatone (1961), in which he participated as an assistant. Shortly after came his first film, La commare seca (1962), in which, with his Marxist burden, he described life in the suburbs of Rome. The film passed without pain or glory; Curiously, having published his first book of poems by then, Bertolucci was better received as a writer than as a filmmaker.

 

Two years later he was cast in Prima della Revoluzione (1964), a film in which he tells the story of a disillusioned character from his bourgeois life. The success, on this occasion, was dazzling. The Italian critics clapped their hands and it was said that a director of genuine status had appeared. Launched in the maelstrom of a militant cinema that transformed social structures, Bernardo Bertolucci began experimenting with the techniques that in France had made the New Wave, with Jean-Luc Godard at the forefront. This is how Partner came (1968), a film based on a work by Dostoevsky, a rather literary and effective work.

 

The recognition was more effective with the strategy of the spider (1970) and, especially, with the conformist (1970), whose photograph was commissioned by the Spanish Néstor Almendros. Inspired by a story by Jorge Luis Borges, The spider strategy, with its excellent staging and intelligent use of music, indicated that the director had already surpassed the learning phase and began to develop his own personality. For many The conformist is a true masterpiece, supported by the excellent interpretations of Jean Louis Trintignant and Stefania Sandrelli. Set in the era of fascism, and with some small failure in the script as to the justifications of the protagonist (receives the order to assassinate a former professor his, leftist), the staging is a real luxury; The setting of Néstor Almendros is key to understand the different moods of the protagonist and the situations he goes through.

 

 

 

In 1972 Bernardo Bertolucci premiered one of his most engaged and most popular works, El último tango en París. It is a heartbreaking, sad film where human beings find themselves at the end of some moral itineraries, since they have not known or have not been able to find the true happiness, or rather, the meaning of life. In a dark, dull, gloomy Paris, a man seeks suicide for his recent widow and finds only a girl who does not understand his situation. A sodomization of the leading actress, Maria Schneider, by Marlon Brando, using butter as lubricant, became the emblematic scene of the film, above its other values. There were queues to see that sequence in many cinemas, leaving aside an argument that had a great beauty, but desolating. Some considered that they were before the first artistic pornographic film, although Bertolucci considered that it was more a film on eroticism than erotic in itself.

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