The museum celebrates the director of New York from Parma, who in 2011 will turn 70 years 
Bernardo Bertolucci at MoMA since Sep 
"You do not have a name, and I even. In here there are no names. " Who does not remember this sentence pronounced at the window of an apartment in Paris, one in which Marlon Brando and Maria Schneider meet, lovers unknown in "Last Tango in Paris"? The film, which Pauline Kael in The New Yorker called it "the most powerful erotic movie ever made and the most liberating," triggered the complaint, the indignant self-righteous, and became a cornerstone of cinema seventies. For every viewer who left, upset, the first screening at Lincoln Center in New York, the fame of the director grew at least twice.
him, Bernardo Bertolucci, who was born in Parma in 1941 and came to the big screen thanks to a neighbor and brilliant visionary by the name of Pier Paolo Pasolini, it seems, was still doubtful: "I was puzzled - she confided in an interview-documentary - and wondered: "But who will watch this movie about this man desperate and depressed?". Brando was 31 years old and I felt very old. " Ahead of what happened then was surprised, but to a certain point: "At that time it was made my idea of \u200b\u200bcinema - he said in the documentary - because the film has taken its own path, moving away from the intentions of the director" . From New York, where there was the success of Bertolucci, he returned to New York, where nearly forty years since the release of "Last Tango in Paris", the Italian director was celebrated all around. This time at the Museum of Modern Art, where it retraced its entire - or nearly so - in the career retrospective "Bernardo Bertolucci" in collaboration with the Istituto Luce, MoMA presents twenty works of Bertolucci remastered. And lesser known films from the first feature films to the blockbuster "The Last Emperor" (1987) and "Little Buddha" (1993) in which the filmmaker explores the Far East and its cultural traditions, religious and political earthworks, the the first case, the Academy Awards. And focus on China, long before the country of the Great Wall is imposed as an economic power and become a tourist destination. In his films, Bertolucci - author of most of the screenplays - has always had one or more individual stories tied to the historical context, without neither human nor underestimate the size of what is around, is no exception, "The Dreamers" (2003), which tells the morbid relationship between two brothers, broken by the entry of a third element in the menage. In the background, the Paris of the Sixty-eight who, while remaining closed out the windows, does not go unnoticed. Although marking the debut of Bertolucci behind the camera was "The Grim Reaper," with a screenplay by Pasolini, to open the retrospective will be "The Conformist" (1970): the film with Stefania Sandrelli and Jean-Louis Trintignant, from the novel by Alberto Moravia, had been presented to the Berlin Film Festival and then get a nomination for a Golden Globe for best foreign film and a Oscar for Best Adapted Screenplay.
's not all: Conformist has influenced the direction of the great names of American movies like Martin Scorsese and Steven Spielberg. An interesting cameo will be the screening of a documentary, one of the few that Bertolucci has directed: "The Oil Route" was established in 1967 as a film-inquiry for television. Restored by Eni in collaboration with National Film Archive is resubmitted in a prestigious setting, the Film Festival of Venice, in 2007. Containing space for another important documentary, "according to the Bertolucci film" directed by Gianni Amelio in 1976 on the set of "Novecento" among images stolen and backstage interviews with the star cast of the movie - Robert De Niro, Gérard Depardieu, Sterling Hayden, Burt Lancaster, Donald Sutherland and Alida Valli - offers another perspective on the work of the great director.
(Marta Casadei - from "Il Sole 24 ore") 
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