Last Tango in Paris (1972) was the first of his films I saw. I’m sure if I would see it again, it would bore me to death. In contrast, Performance (1970) by Roeg (see prev. post) has aged better. Both films are a testament to the sexual revolution.
The last of Bertolucci’s film that I saw was The Dreamers (2003). I remember liking it and I guess that likely hasn’t changed.
Luck has it that YouTube has an entire copy of The Spider’s Stratagem (1970). Like Performance of Roeg, it is inspired by Jorge Luis Borges.
I’ve never seen it, I’ll watch it now.
Let me end (because I can) with this beautiful juxtaposition only marginally linked to Bertolucci:
I finished another ‘roman dur’ by Simenon, L’Enterrement de Monsieur Bouvet, one might say a rather unremarkable novel were it not for the fact that it makes one realize that it used to be possible to lead a double life, to disappear many times in one’s life and start all over again elsewhere without leaving a trace. And were it not of course that this is a Simenon ‘roman dur’ and this is the only ‘genre’ I currently enjoy, and have for a year or three.
L’Univers de Simenon, sous la direction de Maurice Piron avec la collaboration de Michel Lemoine
The Move (1967) is a ‘roman dur’ by Belgian writer Georges Simenon.
I intend to read every roman dur by Simenon.
The Move is both a flawed novel and at the same time one of his more interesting ones due to its near total plotlessness and focus on psychological detail.
Its sub-theme is a criticism of the anonymity of modern high rise, the lack of social control, a side effect of living in the banlieue, in the same vein as Jacques Tati’s films Mon oncle (1958) and Playtime (1967).
Its protagonist is an unwilling eavesdropper.
Another of its themes is an exploration of dark sexuality, a recurring motif with Simenon, such as in Un nouveau dans la ville (1950).