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Almost the first thing Isabelle tells Matthew is, "You're awfully clean for someone who goes to the cinema so much." They also spend all of their time at the movies. The three characters are Matthew ( Michael Pitt), a young American from San Diego who is in Paris to study for a year but actually spends all of his time at the Cinematheque, and the twins Isabelle ( Eva Green) and Theo ( Louis Garrel), children of a famous French poet and his British wife. Outside the windows, there are riots in the streets, and indeed, in a moment of obvious symbolism, a stone thrown through a window saves the lives of the characters, the revolution interrupting their introverted triangle.
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His film, like "Last Tango," takes place largely in a vast Parisian apartment. It is important to have this background in mind when you go to see "The Dreamers," because Bertolucci certainly does. Pauline Kael said, "Bertolucci and Brando have altered the face of an art form." Well, in those days we talked about movies that way. An Italian who made his first important film, "Before the Revolution," when he was only 24, he would in 1972 make " Last Tango in Paris," a film starring Marlon Brando and the unknown Maria Schneider in a tragedy about loss, grief and sudden sex between two strangers who find it a form of urgent communication.
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I got my job at the Sun-Times because of it they looked around the features department and appointed the long-haired new kid who had written a story about the underground films on Monday nights at Second City.īertolucci is two years older than I am. "The Movie Generation," Time magazine called us in a cover story. To be 16 in 1968 is to be 50 today, and so most younger moviegoers will find this film as historical as " Cold Mountain."įor me, it is yesterday above all it evokes a time when the movies - good movies, both classic and newborn - were at the center of youth culture.
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I indulge in this autobiography because I have just seen Bernardo Bertolucci's "The Dreamers," and am filled with poignant and powerful nostalgia. By the summer of 1969, I was in Hollywood, writing the screenplay for Russ Meyer's " Beyond the Valley of the Dolls." It would be an X-rated movie from 20th Century-Fox, and although it seems tame today (R-rated, probably), it was part of a moment when sex had entered the mainstream and was part of a whole sense of society in flux. In April of 1969, driving past the Three Penny Cinema on Lincoln Avenue, I saw a crowd lined up under umbrellas on the sidewalk, waiting in the rain to get into the next screening of Godard's "Weekend." Today you couldn't pay most Chicago moviegoers to see a film by Godard, but at that moment, the year after the Battle of Grant Park, at the height of opposition to the Vietnam War, it was all part of the same alignment. Later I realized they might have thought I was saying tourista, which is slang for diarrhea. "Tourist!" I shouted, trying to make myself into a neutral. The police charged, I was pushed out in front of them, and rubber truncheons pounded on my legs. I was in the middle, standing outside my hotel, taking it all in. Demonstrators had barricaded one end of the street where my cheap Left Bank hotel was located. In the spring of 1968, I was on vacation in Paris.