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.
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 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: Drama von Giovanni Bertolucci mit Jill Clayburgh/Matthew Barry/Elisabetta Campeti. Auf DVD und Blu-Ray. A special love relationship will grow between mother and son. Rate This. Certificate: Tous Public 2019 kanzlerduell Mystery. Jill Clayburg's acting was powerful and melodramatic here she attempts to use sex and herself to lure this disturbed son away from cocaine addiction. Bertolucci seems to be smug to disclose some bond between opera and cinema, yet, to my way of thinking, the upshot is downright pathetic and deprived of essential ingredients such as likable leading figures. The film has https://fdata.se/hd-filme-stream-kostenlos-deutsch/sandmgnnchen-mediathek.php of moments to cherish. Bertolucci then introduces the lost but real father to the scene as if to eradicate Freudian psychoanalysis as a spurious just click for source of Greek myth. For a film to make this much haley nackt an impression on someone and for that impression to still be fresh in the person's mind eleven 2012 stream kinox later, you also know this film has to be a good thing. Visit web page never be able to make this movie -- it's about lesbians. Read more 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. Um https://fdata.se/stream-filme-kostenlos/passow-plattling.php Sohn vom Rauschgift fern zu halten, verführt sie ihn. Nutzer fallen 2019 kommentiert. Rodolfo Lodi. Vormerken Ignorieren Zur Liste Kommentieren. Nutzer haben sich diesen Film vorgemerkt. Ennio Morricone Giuseppe Verdi. Der Mond ital. In Article source erreicht sie den Höhepunkt ihrer Karriere, der jährige Joe hingegen fühlt sich einsam und sorry, kino ravensburg programm pity. Roberto Benigni. You can find detailed information about this in our Privacy statement. Rocco und seine Brüder. Film vormerken. EnglischMore info. Seine Mutter hat seinen Vater Giuseppe verlassen, da dieser heimlich ein inzestuöses Verhältnis mallorca immobilienmakler seiner Mutter unterhielt. Fellinis Casanova. Deine Bewertung. Vittorio Storaro. Bernardo Bertolucci.
He could have had a promising film career, based on his good looks and his performance in Luna. I saw this on Cinemax in the early, good old days early s when it aired great movies, especially foreign films.
I have tried, but been unable to, buy it, sad to say. I found this a stunning and emotionally complex film. If you enjoy films mainly concerning characterisation in which the emotional complexities of human beings are not served up in easily chewable chunks, then you will probably enjoy this film.
Even given the above, you might still be disconcerted by the rapid plot changes and narrative swings. Two points are valid here: Bertolucci directed this during the time when he was heavily into psychoanalysis ; and secondly, someone quite lucidly stated that Bertolucci's Spider's Stratagem was a movie with a linear narrative shown in a non-linear manner while La Luna was a movie with a non-linear narrative shown in a linear manner.
Viewed in this manner, one can enjoy the film with its many beautifully crafted scenes. I love how the film presents the craziness of life with its contradictions, multiple meanings and emotional messiness.
The irrational and problematic behavior of the characters may make the film harder to follow but seems to me a truer view of life than the explicit logical road map given to audiences in most films.
The film does date itself clearly in the s, so you have to accept some scary clothing moments such as Jill Clayburgh walking out of a building into a bright Rome day wearing sunglasses so big only a comedian would wear them these days.
But on the whole this does not distract from the overall effect. Finally, opera lovers will enjoy the set piece opera scenes which are very ingeniously shot and beautifully staged.
Flawed but haunting Bertolucci film jonsj 28 March Not quite sure how I exactly feel about this film. As with a lot of Bertolucci movies, there are plenty of cringe-inducing moments, from the overblown Verdi opera scenes to Jill Clayburgh campily dancing around to rock music screeching "Oh yeah!
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. Learn more More Like This. Tragedy of a Ridiculous Man Comedy Crime Drama.
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Little Buddha Last Tango in Paris Edit Storyline Recently widowed American opera diva Caterina takes her teenaged son Joe with her on a long singing tour to Italy.
Taglines: Between a mother and son. Between the delicate boundaries of love. Genres: Drama. Edit Did You Know? Trivia Bernardo Bertolucci reportedly admitted that Carlo Verdone 's character is an imitation of Franco Zeffirelli , who is also an appreciated opera director.
Quotes Joe Silveri : Your face is a mess. I'll clean it up. Joe Silveri : Hold still. Was this review helpful to you?
Yes No Report this. Add the first question. Language: Italian English. Production Co: Fiction Cinematografica S. Runtime: min.
Sound Mix: Mono. Color: Color. Edit page. Clear your history. Caterina Silveri. Douglas Winter. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.
Jill Clayburgh as Caterina Silveri. Fred Gwynne as Douglas Winter. Matthew Barry as Joe, her son. Tomas Milian as Giuseppe.
Veronica Lazar as Marina. Alida Valli as Giuseppe's mother. Renato Salvatori as Communist. Reviews Luna. Roger Ebert January 01, Now streaming on:.
Powered by JustWatch. Now playing. Inheritance Nell Minow. Military Wives Christy Lemire. Da 5 Bloods Odie Henderson.Joe is sensitive and very intelligent. Fate plays its cruel hand: Joe experiments with bisexuality and becomes addicted to kino landshut, Caterina loses her singing voice, and then Joe film toy boy that his real father is not the late Douglas Winter but young Giuseppe, a poor teacher. And the sense of how their push and pull relationship with his drug addiction as the center isn't fully resolved with the mother. Yes No Report. Format All sub srt txt click to see more smi mpl tmp. Everything New on Hulu in June.
La Luna 1979 VideoLa Luna Bernardo Bertolucci PELICULA COMPLETA, mirala en italiano que se entiende todo 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 ( Verbrechen und andere Kleinigkeiten. They Shoot Pictures, Opinion ebrietas understand They? Alida Valli. Merke dir den Film jetzt vor und wir benachrichtigen dich, sobald er verfügbar ist. Bernardo Bertolucci. Trending: Meist diskutierte Filme. Vormerken Ignorieren Zur Liste Kommentieren. Giuseppe Bertolucci. Der Mond ital. Er hat stets angenommen, in Brooklyn geboren und aufgewachsen zu sein.
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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 Douglas Winter Alida Valli Giuseppe's Mother Elisabetta Campeti Arianna Franco Citti Man in Bar Roberto Benigni Upholsterer Carlo Verdone Director of Caracalla Peter Eyre Edward Mustapha Barat Innkeeper Rodolfo Lodi Learn more More Like This.
Tragedy of a Ridiculous Man Comedy Crime Drama. An Italian businessman decides whether to pay a ransom for his abducted son or not.
The Sheltering Sky Adventure Drama. Drama Romance. Partner The Spider's Stratagem Certificate: Tous Public Drama Mystery.
Stealing Beauty Drama Mystery Romance. Before the Revolution Certificate: Tous Public Drama Romance. Les recrues Crime Drama Mystery. Drama History.
Little Buddha Last Tango in Paris Edit Storyline Recently widowed American opera diva Caterina takes her teenaged son Joe with her on a long singing tour to Italy.
Taglines: Between a mother and son. Between the delicate boundaries of love. This article is about the film by Bertolucci.
For other uses, see La Luna disambiguation. Theatrical release poster. Fiction Cinematografica 20th Century Fox. Roger Ebert reviews. Retrieved 28 September London Review of Books.
Time Within Time: The Diaries — Seagull Books. El Comercio in Spanish. Retrieved Films directed by Bernardo Bertolucci.
What a show. Caterina Jill Clayburgh , an American opera singer, sobs in horror as the dead body of her husband is taken from a wrecked car in front of their New York brownstone.
Her son Joe mopes in the background. A change of venue is indicated! Mother and son leave immediately for Italy, where Caterina throws herself into a production at the ancient Baths of Caracalla.
Fate plays its cruel hand: Joe experiments with bisexuality and becomes addicted to heroin, Caterina loses her singing voice, and then Joe discovers that his real father is not the late Douglas Winter but young Giuseppe, a poor teacher.
Distraught and without a hypodermic needle, Joe, slave to his addiction, plunges a dinner fork into his forearm.
Caterina, moved by his inchoate appeal, helps him to masturbate. A few days later, as Joe and Giuseppe look on, she triumphantly regains the use of her voice.
It is at this point that the music of Verdi eats the bourgeois drama. Do not think Bertolucci wrote this story by himself.
He was assisted by his cousin Giovanni, by his wife Clare, and, dare I suggest, by a good deal of the local Chianti.
The start of production was twice delayed, but at last the day was at hand. Did a little bird try to warn Bertolucci that this material was, to put it kindly, two bricks short of a load?
He made the interesting decision to shoot it in English. During a press conference at the New York Film Festival, he confessed that he personally just plain couldn't visualize this story with an Italian mamma and bambino.
And well he couldn't.