La Luna 1979 Statistiken
La Luna ist ein italienischer Spielfilm aus dem Jahr Regie führte Bernardo Bertolucci, der für diesen Film die melodramatische Struktur der Opern von Giuseppe Verdi als Vorlage nahm. La Luna ist ein italienischer Spielfilm aus dem Jahr Regie führte Bernardo Bertolucci, der für diesen Film die melodramatische Struktur der Opern von. La luna. Opernsängerin Jill Clayburgh kämpft um die Liebe des drogenkranken Sohns. Melodram. Bewertung. Stars. Bewertung. Redaktions Kritik. Bilder. News. La Luna ein Film von Bernardo Bertolucci mit Jill Clayburgh, Matthew Barry. Inhaltsangabe: Caterina Silveri (Jill Clayburgh) war einst eine erfolgreiche. Komplette Handlung und Informationen zu La Luna. Die New Yorker Operndiva Caterina zieht mit ihrem jährigen Sohn Joe nach Rom. Dort muss sie inmitten.
La luna: Drama von Giovanni Bertolucci mit Jill Clayburgh/Matthew Barry/Elisabetta Campeti. Auf DVD und Blu-Ray. Die New Yorker Operndiva Caterina zieht mit ihrem jährigen Sohn Joe nach Rom. Dort muss sie inmitten des hektischen Probenbetriebes. Komplette Handlung und Informationen zu La Luna. Die New Yorker Operndiva Caterina zieht mit ihrem jährigen Sohn Joe nach Rom. Dort muss sie inmitten. Quinoa 20 February It is a movie fascinated that she does act in this way. Caterina Silveri. Release Dates. Genres: Drama. Now streaming visit web page. Latest blog posts.
MCCONAUGHEY la luna 1979 Falls die Serie auch bei la luna 1979 die Finger von irgendwelchen.
|Leprechaun origins stream||Er hat stets angenommen, in Https://kollevikcamping.se/serien-stream-to-app/belagerung-englisch.php geboren und aufgewachsen zu sein. Die Besten Dramen. Filme von Bernardo Bertolucci. Der Mond ital.|
|La luna 1979||They Shoot Pictures, Don't They? Dort muss sie inmitten des hektischen Continue reading erkennen, dass ihr einsamer Junge heroinabhängig ist. Giovanni Bertolucci. Gabriella Cristiani.|
|La luna 1979||GefГ¤hrliche lehrerin stream|
|Hocus pocus||Sparks avengers from hell|
|Wohin der weg mich fГјhrt||328|
Following the death of his friend, an Italian youth grows increasingly closer to his young aunt. When a woman is killed in a park, the police bring in everyone suspected of being there when the incident occurred and question them.
One of them is the killer. The epic tale of a class struggle in twentieth century Italy, as seen through the eyes of two childhood friends on opposing sides.
After the death of Lama Dorje, Tibetan Buddhist monks find three children - one American and two Nepalese - who may be the rebirth of their great teacher.
A young Parisian woman meets a middle-aged American businessman who demands their clandestine relationship be based only on sex.
Recently widowed American opera diva Caterina takes her teenaged son Joe with her on a long singing tour to Italy. Absorbed in her hectic work in various Verdi operas around Rome, Caterina is soon shocked to discover that her troubled and lonely son has become a heroin addict.
Her desperate attempts to wean the youth off the drug result in an incestuous relationship, but also in a possibility to reunite Joe--maybe even herself--with his real father, whose existence she has kept a secret from him.
Written by Markku Kuoppamäki. A childhood memory, looking into his mother's face with a full moon creating a halo around her.
Beautiful and so Italian. The mother in this case is Jill Claybourgh, she was raiding the crest of the wave then and it's very telling that she would choose to play a part that required, not just appearing completely nude but making love to her teen age junkie of a son.
She is awkwardly terrific. Her face is a voyage in itself. I would have use quite a different wardrobe for her character as well as make up and hair style but maybe that was just a sign of its day.
Jill laughs saying "I am crazy" and that would explain some of the dangerous nuttiness she indulges in here. Her son, played beautifully, by unknown - before and since - Matthew Barry.
A Bertoluccian teen sex object if I ever so one. The film has oodles of moments to cherish. Tomas Milian plays the boy's real father. They've never met, His father still lives in a rather intense relationship with his mother, the stunning Alida Valli.
A film to enjoy with your heart, your gut and your libido but not your brain. Just live your brain for other Bertolucci jewels. Sign In.
Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits.
Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews.
Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. While touring in Italy, a recently-widowed American opera singer has an incestuous relationship with her year-old son to help him overcome his heroin addiction.
Director: Bernardo Bertolucci. Available on Amazon. Added to Watchlist. Everything New on Hulu in June. Films of Share this Rating Title: Luna 6.
Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Golden Globe. Another 1 win. Edit Cast Cast overview, first billed only: Jill Clayburgh Caterina Silveri Matthew Barry Joe Silveri Veronica Lazar Marina Renato Salvatori Communist Fred Gwynne But there are haunting stretches in this movie which continue to resonate with me -- an opening passage where Clayburgh is biking in the night with her baby, and even smaller moments like the strangely beautiful shot of the teenagers skateboarding down the streets of Rome, or the kid dancing to "Night Fever".
I would love to rewatch it and hope it get released on DVD. It's a fascinating entry in Bertolucci's work. A mess, but I think it's stayed with me more strongly than or Tango, though I think The Conformist still reigns supreme.
Not many discuss Bertolucci's La Luna as one of his most challenging films but I beg to differ. In I presume the film's campy allure had not been registered but today it's all to be seen; call it kitsch or ironic, but la Luna encapsulates two worlds Bertolucci tried to negotiate in most of his films - the world of appearances and surfaces against the inner world of the protagonist.
La Luna plays both against each other as a masquerade, because what we think we are getting is not what we really are seeing.
Bertolucci presents the first part as a post-Freudian fable in late 70s Rome where an Opera singer and her son indulge in an Oedipal relationship.
Bertolucci then introduces the lost but real father to the scene as if to eradicate Freudian psychoanalysis as a spurious retelling of Greek myth.
It seems the son only wants his father's recognition and love, while the mother is marginalized. It's a very masculine thesis for Bertolucci, one that reinforces the illusory fundamentals of Patriarchy, while negating the matriarchal as a mere bypass to the final journey father's love.
Jill Clayburgh's acting is off-key most of the time but this unwittingly invests the film with its latter-day camp quality, while Matthew Barry looks dazed and confused throughout the entire film.
Rome is undoubtedly the best part of the film as well as the sumptuous visuals that capture its sun-drenched beauty and decaying but grand monuments.
Quinoa 20 February Having come off of the monumental undertaking of , he probably wanted to still keep the challenging creative juices flowing, and in doing so concocted an idea surrounding a mother and son who lose their closest significant other and go to Rome, only to get dragged into their own created mire of drug addiction, self-absorption, and incest.
This, of course, sounds quite meaty dramatically, at least when first heard. Executed on film it's another story, and the final script is probably what ends up making the film one of the weakest- if not THE weakest- I've seen from the director yet.
This still means that there's good chunks in there, even really wonderfully sordid moments of incredible familial dysfunction between mother and son.
But unlike, for example, Malle's Murmur of the Heart, there's a lack of cohesion to any sense of firm psychology with either mother or son, and while things are fascinating and potent in dramatic spontaneity in the first two-thirds, there's a moment when things start to go downhill.
The mother is Caterina Jill Clayburgh, a quasi Diane Keaton look-alike, however only sometimes talented and convincing , who's husband in a great bit part by Fred Gwynne dies suddenly while driving a car.
Though both mother and son are devastated, they go to Rome so she can sing in the opera there. The son, meanwhile, is at that absolutely abhorrent age in anyone's life- and at first is into some nothingness abound with a girl, and soon enough into a dead-end mind-set of heroin.
This alarms her mother, to be sure, and perhaps the most perfect scene of the film whether this means it will shock or unsettle is another matter , is when the son plays piano for a moment when the mother tries to get her son to tell her about his drug problem, peers for a moment under his shirt, and then he erupts at her with physical violence.
Finally it ends, and she goes to one side of the room with a look like 'what the hell just happened', and he goes off to do more junk.
There's even the brilliant little insinuation, which is all that's needed, of a notion of desire when she's trying to peer at his arm.
Now, if there had been more scenes like this, consistently, it might even be one of Bertolucci's masterpieces.
But, however, this is not to be. Towards the middle things even become shaky, as the same randomness of mind and spirit with the mother and son, this chronic sense of equal parts of nihilism, despair, gallows humor, and the oddness of bourgeois discontent with dark pasts, becomes something that Bertolucci isn't fully able to grab a hold of.
And unlike in Last Tango in Paris, there's no Marlon Brando here to make things incredibly appealing with totally believable dread in the face of loss.
Matthew Barry is decent in the part of Joe, the son, but also teeters on being annoying which maybe is part of the desired effect, but still.
And the sense of how their push and pull relationship with his drug addiction as the center isn't fully resolved with the mother. It's a mark of downhill quality that has almost been building, and it's troubling especially since a lot DOES work in morbid detail of the characters, and how operatic intonations somehow become involved in their plights.
But Bertolucci tends to put the hammer down in both technique and substance, and only in the former does it really work. His and Vittorio Storaro's eye in this film is just as sharp and succulent as in their other collaborations, with the camera gliding seamlessly in some crucial ways, providing movement to just the slightest moments of emotional upheaval.
Yet even in the least effective spot of the film, there are the moments, like when Joe plays drums with his fork and spoon at the table.
Or the very awkward silence after the mother's sexual advances go very unheeded. In the end La Luna becomes more worthwhile to see for what doesn't work as opposed to what does.
While some might come away from it feeling that it's an uncompromising work of genius, I wouldn't, though it's not a failure either.
It's a curious work of bravura testing of the limits of what people- in this case Americans- can be in such a European environment, and that the psychologies therein are as wobbly as a bad table leg.
Bernardo Bertolucci's La Luna is a phenomenal piece of cinematic genius indeed, and something which should be viewed with an open mind, and most likely in solitude as opposed to with friends or family.
I first saw the film over twenty years ago when it showed on a local TV channel late at night. It was my first introduction to Bertolucci, but it convinced me immediately of his powers!
The storyline is simple, yet it is complex let's call it simply complex for arguments sake! It involved the character of an opera singer played magnificently by Jill Clayburge , and her son played equally fine by Matthew Barry.
Some people have frowned upon the film for it's incestuous content - yet I would beg to differ. Although there most certainly are incest scenes in the film, there is really only one or two which 'shock', yet they are primary to the storyline, and they do help with filling out the flesh of it all, so to speak.
Heroin addiction is another aspect of this film which may disturb some people especially from a character so young , but being an ex heroin addict myself, these scenes did not bother me, but bought back some pretty painful memories as did the incest ones , and they are done with beauty and not overindulged at all.
Put simply, this film needs to be seen by everyone, and you must truly see it for what it is - a magnificent piece of artistic cinema in it's most purest form.
I actually auditioned for this film TimWil 19 November I actually auditioned for the role of the son when the mother was originally supposed to be played by Liv Ullman I think I read for it twice but was ultimately rejected because I looked too American in a Tom Sawyer kind of way-the boy who ended up doing it had a European quality in his face which Bertolucci wanted for the role.
I remember it as having been gorgeously shot. The performances by Clayburgh and Barry are extremely good. Alida Valli is superb.
The opera scenes were fantastic. Why isn't this out on DVD? Will we have to wait until after Bertolucci's death? SLR-3 19 December I recall that both Roger Ebert and Gene Siskel HATED this film, which they characterized as senseless meanderings in an incomprehensively large Italian villa by two characters about whom we care nothing.
I chose to see it anyway, and absolutely loved it. Perhaps only a woman can relate to just how far a mother will go to redirect her son from a deadly path.
This movie was on the "forbidden list" when I was growing up. Of course that only made me and my siblings want to watch it more.
Thank goodness I saw it late one night on cable TV by myself as I think it would have been embarrassing to watch it with my brothers or my parents for that matter.
Being only 13 at the time it was definitely "eye opening" to say the least. Jill Clayburgh became one of my first crushes.
I have not seen it since I was a kid but the plot of it was secondary to my 13 year old self. Caught it with some of my friends less than a month later in a movie marathon home alone sleepover.
Just as "fascinating" as "Porkys' but in a whole different way. I've said too much. From the very first minutes we can witness the connection between mother and son, a bond so strong that goes beyond words.
This movie has been badly reviewed and analyzed until this day. I will humbly try to correct some points made by others.
The young kid in the movie begins his descent into drugs not because he misses her dad, but because he wants to numb himself and escape the sexual lust and feelings he has towards her mom.
You can watch it very clearly in the scene between them when he couldn't inject heroin in his arm due to a lack of a needle and it's all covered in fever.
He then proceeds to guide her mom's hand to his groin. It's clear then the real motive why he was in that condition. Another point most people don't seem to recognize is that the mother doesn't recur to the incest to get close to his son.
She does so because she shared the same sexual desire towards him. She had witness an incestuous relationship between his boyfriend and his mother and accepted it because deep inside she knew she had it those impulses in her too.
This movie's themes and subject matter are taboo to this day, but I for once I'm grateful that those kind of themes are covered at all in an elegant, profound and non-graphic film such as this one.
This is not a soft porn flick nor it is made for titillating audiences. The photography, the music and Jill Clayburg's performance are like the icing on a cake.
This is one of those rare movies that's so rich in content that it deserves repeated viewing in order to fully understand all it's values and details.
After his death there was a deathly silence about this great film, especially among the so-called film critics in England.
But Oh did they have a field day with the butter scene out of 'Last Tango in Paris' which as a film when seen objectively is almost as great as this film.
But our moral prudery got in the way, and there were polite gestures towards lesser films with safer subjects. And yes Bertolucci could be safe.
His avoidance of homosexuality in 'The Dreamers' based on gay writer Gilbert Adair's original novel was saddening, as it was a main explicit core of Adair's original book 'The Holy Innocents'.
Maybe he was tired of controversy. La Luna' is his most perfect work, culminating in an emotional climax that makes you wonder how he could enhance music with drama in a way that say Visconti often failed to do; Visconti who ruined Mahler and made his music a cliche.
It is the director's vision, his illumination of ultimate union between the characters that counts. The reconciliation scene uses Verdi and his opera 'Un Ballo in Maschera' to counterpoint and not to impose upon the film.
In that ending it is time to put away moronic talk of incest and heroin, but to say along with D. Lawrence in his poem, 'Look, we have come through!
In Italy they stand by themselves and Joe, a lonely boy, is still grieving his "father"'s death.
This is not apparent because Joe looks like a normal teenager. Parties, girlfriend and so on. One day during Joe's birthday party, Caterina discovers that her son is on heroine.
She doesn't know what to do. She gets to know that Joe, her son, feels very lonely and she tries to deepen their relationship. It is not easy.
Joe is sensitive and very intelligent. It wouldn't do to just pat his head, tell him to stop with the nonsense and be a good boy - there's no use for the repressive approach.
And their relationship gets very close - psychologically and sexually speaking. It's amazing. A special love relationship will grow between mother and son.
The USA are too puritan for this kind of thing. There's a beautiful interview of Bertolucci featured in the bonus in which he comments on how his own remembrances influenced the film - he was a baby and his mother was cycling on the road one night.
She was young and beautiful and he remembers seeing her face and then the moon in a way that both seemed to blend together for some moments.
The bonus shows us Bertolucci being interviewed in different phases of his life. He is very intelligent and human and has really something to say.
Jill Clayburgh and Matthew Barry are outstanding as mother and son and I must confess that during the film I wished Jill Clayburgh were my mother.
Oh Yes! I didn't like the ending so much, but I think that maybe Bertolucci wanted an operatic ending to "La Luna", it is a matter of taste, anyway.
Disturbing but excellent exploration of the Oedipal leventhal-1 3 April This is one of Bertolucci's best films. After the sudden death of his stepfather, whom he believes was his real father, the teenager Joe and his famous mother played by Jill Clayburgh depart for Italy.
There, the unresolved enigma of his real father, his erotic attachment to his mother, the narcissism of the mother, and his own inability to truly connect with anybody else drive Joe into the world of heroin.
His mother discovers his habit, and out of a combination of guilt and her own narcissistic loss of boundaries, first colludes with him to procure the drug, and then attempts to soothe him in his despair through sexual stimulation, and gets drawn into the Oedipal vortex into which Joe has plunged.
This film demonstrates with great power the devastating consequences of the failure to resolve the Oedipal conflict. The film is difficult to find in America, but is well worth the effort.
Heavy-duty incestuous involvement of mother and son. Jill Clayburg's acting was powerful and melodramatic as she attempts to use sex and herself to lure this disturbed son away from cocaine addiction.
It gets almost pornographic and thereby uncomfortable to watch as the boy was only about One could argue that he was an under-age actor who was being sexually exploited while Bertolucci was acting out some of his own problems while in psychoanalysis.
On the other hand, such movie-makers do the audience a service in bringing incestuous behavior and psychology to consciousness, where it lurks unconsciously in most people.
Mother-son seductiveness is not that rare but is mostly denied and rationalized. Greedorr 20 October It's obvious watching Luna that Bernard Bertolucci has a visual gift.
The movie's opening scenes are lyrical and arresting. Unfortunately, what follows is a ridiculous story about an opera singer Clayburg who tries to hold onto her year-old junkie son by trying to have sex with him.
Despite touches of humor and candor like the scene where Clayburg visits her son's Muslim dealer , the overall effect made me sad for the actors, who took a great risk, I think, in agreeing to appear in this.
By the time I reached the sappy, "magical" operatic finale, my finger was firmly pressed against the Fast-Forward button. Stunning-very, adult,erotic, forbidden, the essence of Jill Clayburn in all her sexuality is truly STUNNING Forget the Puritans who are blinded by the depths of the human swirl of emotions that present themselves to the viewer.
What a pleasant surprise to see this actress in a role that surely must tax the strongest level of artistic honesty sorry about the cinema-babble but I am required to write ten lines.
I found myself searching the guide to get another chance to sit through this film again and study it, as there are a number of human situations that complicate a casual viewing of this piece of Cinema sunaj.
The first half of this film is a brilliant story about a teenage boy hopelessly lost in a world not of his own making.Die New Yorker Operndiva Caterina zieht mit ihrem jährigen Sohn Joe nach Rom. Dort muss sie inmitten des hektischen Probenbetriebes. ; frz. ], 2 Bde., Köln López Vázquez López Vázquez, Luna Luna, Juan J.: „El retrato de Fernando VI y Barbara con su corte, por. La luna: Drama von Giovanni Bertolucci mit Jill Clayburgh/Matthew Barry/Elisabetta Campeti. Auf DVD und Blu-Ray. Fabre, Alain, Las lenguas indígenas sudamericanas en la actualidad. Diccionario Colegio de Na Sra. del Rosario, Bogotá, Sol y Luna, Montes Giraldo. ; Elisabeth Reicharts La Valse, ; Christine Angots Inzest, ). so in Bertoluccis Film La Luna () und Louis Malles Herzflimmern (