Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Monday, April 18, 2016


A new restoration of Bernardo Bertolucci’s masterpiece (out on Raro Video) does his later work few favors. Made under the supervision of Bertolucci and cinematographer Vittorio Storaro, the corrected picture accentuates a balance in form & content which leaves his other pics either straining for effect (say, 1900/’76) or coasting on pure visual dazzle (like LITTLE BUDDHA/’93). Told in his preferred non-linear style, some puzzling elements only come into focus on a second viewing, but you’ll hardly mind. The movie is a 1930s political fever-dream, with Jean-Louis Trintignant’s wary Italian Fascist honeymooning in Paris, while awaiting for word on his assignment against a former professor, now a major figure in the French Popular Front. But Trintignant’s conflicted nature, shown with striking clarity by Bertolucci in vivid dips into his past*, threaten any foreordained conclusion. Under another director, the film might have played out as a series of bravura set pieces (the ballroom dance, an assassination in the snowy woods, a nightmarish walk thru Rome at war’s end); instead, momentum accumulates as we get to know the characters & situations from different angles. It all looks more thrillingly modern than ever.

ATTENTION MUST BE PAID: *Where many directors would signify the past by fading to b&w or toning down color saturation, Bertolucci does the opposite to show how memory can be heightened thru time.

No comments: