Little Women (2019 film)

Based on the novel by Louisa May Alcott, Little Women is the story about the lives of four sisters who embark on different lives as one of them aspires to be a writer as well as trying to find herself during and after the American Civil War. Written for the screen and directed by Greta Gerwig, the film is a coming-of-age drama that explore four young women trying to find themselves as well as their roles in lives as well as rely on each other. Starring Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothee Chalamet, Louis Garrel, Chris Cooper, Tracy Letts, Bob Odenkirk, James Norton, and Meryl Streep. Little Women is a ravishing and vivacious film from Greta Gerwig.

The film revolves around four sisters living in Concord, Massachusetts during the American Civil War as their father is away as they all have different ambitions and dreams that they want to do while eventually finding their own identities in the years after the war. It’s a film that play into a world where women are expected to have certain roles for the world yet one of them wants to write while another wants to be an artist while another sister wants to belong and be part of society and another sister just wants to simply play piano. Greta Gerwig’s screenplay doesn’t aim for a traditional narrative but rather a somewhat non-linear narrative that is more deconstructive in order to explore the four March sisters in Margaret “Meg” (Emma Watson), Josephine “Jo” (Saoirse Ronan), Elizabeth “Beth” (Eliza Scanlen), and the youngest Amy (Florence Pugh).

The narrative opens with Jo trying to sell her stories and hoping to get published yet she chooses to remain anonymous as a writer and have her work be re-edited for money that she uses to help her family back in Concord while she’s in New York teaching at a boarding house. Much of the narrative have the sisters often looking back at certain moments of their lives during the final years of the American Civil War where their father (Bob Odenkirk) is serving for the Union as they live with their mother Marmee (Laura Dern) and family maid Hannah (Jayne Houdyshell) whom they consider family than a servant. Gerwig’s script does focus largely on Jo yet she does give a lot of considerable attention to the bratty but artistic Amy, the proper Meg, and the shy Beth. While Amy and Meg are given arcs that play into their development, Beth’s role is more at the center as she represents the best of the sisters while being a source of comfort to the elderly neighbor Mr. Laurence (Chris Cooper) through her piano playing while his grandson Theodore “Laurie” (Timothee Chamalet) becomes a friend of the sisters.

Gerwig’s direction is definitely rapturous in not just its presentation but also in some of the choices she makes in the way she presents the characters and their arcs. Shot largely on location in Boston as well as Concord, Massachusetts and parts of Harvard including the Arnold Arboretum as Paris, Gerwig recreates the world of mid-19th Century Massachusetts as there’s some wide shots of the locations while Gerwig would also use medium shots to get a look into Concord in the mid-19th Century and how it would change when Jo was living in the town to her return years later to help the ailing Beth. The usage of dolly tracking shots for a scene where Jo dances with Laurie outside of a party that Meg is attending as there is this air of energy and looseness that makes it so compelling as it play into Jo’s friendship with Laurie. Gerwig also creates matching compositions in the way to create shifting transitions where it would focus on a character from a certain moment in time to then where that person is years later as they reflect on the past.

Gerwig’s direction also has this atmosphere to the period while emphasizing on different seasons to help play into the mood of a scene as well as the journey that a character takes. Amy would be in Paris trying to learn how to paint like the greats while dealing with Laurie’s presence who is trying to woo her while Meg is in Concord trying to be a good wife but also wanting to fit in with the other women in Concord. The scenes of Jo with Beth play into their relationship but also how important Beth was to the family as someone who really did a lot more behind the scenes as well as encourage Jo to not stop writing. Gerwig would also find a way to wrap things up as it relate to Jo eventually finding herself as well as what she wants as a writer and as a woman along with her sisters finding their own identities with the people they care about around them. Overall, Gerwig crafts an evocative and intoxicating film about four sisters trying to find themselves in mid-19th Century America.

Cinematographer Yorick Le Saux does incredible work with the film’s cinematography with its usage of natural blue lighting for some of the scenes in the winter as well as to create a mood along with some naturalistic photography in some of the daytime interiors and usage of candles at night. Editor Nick Houy does brilliant work with the editing with its stylish usage of jump-cuts, montages, and slow-motion as it help play into the drama and some of the humor. Production designer Jess Gonchor, with set decorator Claire Kaufman and supervising art director Chris Farmer, does excellent work with the look of the March home as well as the Laurence estate as well as the home of Aunt March (Meryl Streep) as there’s a lot of great detail that play into the homes and how it reflect those characters. Costume designer Jacqueline Durran is amazing for its costumes in the design of the dresses that the women wear as it so much detail that play into the personalities of the characters with the clothes that the men wear throughout the film.

Visual effects supervisor Blake Goedde does terrific work with the visual effects as it is largely set dressing to help create the look of some of the places the characters go to in its exterior. Sound editors Skip Lievsay and Paul Urmsom do superb work with the sound as it play into the atmosphere of the parties as well as the scenes on the beach and the pub scenes in New York. The film’s music by Alexandre Desplat is phenomenal for its rich and lush orchestral score that help play into the drama and some of its livelier moments as it is a highlight of the film as the music soundtrack also feature some classical pieces and traditional music pieces of the time.

The casting by Kathy Driscoll and Francine Maisler is wonderful as it feature some notable small roles and appearances from Maryanne Plunkett as the boarding house landlord Mrs. Kirke, Abby Quinn as a young society woman in Annie Moffat, Dash Barber as Amy’s beau Fred Vaughn, Sasha Frovola as the ailing German immigrant Mrs. Hummel, Jayne Houdyshell as the March’s longtime maid Hannah whom the girls treat as family, Bob Odenkirk as Father March, and Tracy Letts as the newspaper publisher Mr. Dashwood who is baffled by Jo’s stories as he reluctantly publishes them. James Norton is terrific as Laurie’s tutor John Brooke who would become Meg’s husband as he is concerned with her desire to fit in despite their lack of finances while Louis Garrel is superb as Friedrich Bhaer as a European literature professor who befriends Jo in New York while gives her some serious criticism about her work.

Chris Cooper is fantastic as Mr. Laurence as Laurie’s grandfather who laments over the loss of his daughter many years ago as he sees Beth as someone close to his daughter due to her love for the piano. Timothee Chalamet is excellent as Theodore “Laurie” Laurence as the grandson of Mr. Laurence who befriends Jo and the March sisters as he helps them be part of their plays as well as observe everything else while later falling for Amy in Paris. Meryl Streep is brilliant as Aunt March as Father March’s older sister who is rich while always offering the March girls advice about life and such as she often brings a lot of humor to her role. Laura Dern is amazing as Marmee as the March family matriarch who is always trying to bring some guidance and warmth to her daughters as well as someone who is also willing to help no matter how little her family have.

Eliza Scanlen is incredible as Elizabeth “Beth” March as the third older sister of the family who is shy as she prefers to play the piano to entertain others while is also the most observant as she would fall ill twice through scarlet fever where she would give Jo the motivation to keep on writing. Emma Watson is remarkable as Margaret “Meg” March as the eldest of the four sisters who wants to fit in and wear the finest clothes as she also acts in Jo’s plays but wants to have a family as she later deals with the desires to conform as well as be a good wife and mother to her children. Florence Pugh is phenomenal as Amy March as the youngest of the four sisters who is wild and bratty but also manages to be caring as she later goes to France to learn to be an artist as she copes with her work as well as her love life as she becomes unsure about Laurie. Finally, there’s Saoirse Ronan in a sensational performance as Josephine “Jo” March as the second oldest of the four sisters that wants to write and create stories while trying to stand out on her own as Ronan radiates with charisma as well as restraint to convey her own setbacks as it is a career-defining performance for Ronan.

Little Women is a tremendous film from Greta Gerwig that features top-notch performances from Saoirse Ronan, Florence Pugh, Laura Dern, Chris Cooper, Timothee Chalamet, and Meryl Streep. Along with its ensemble cast, gorgeous visuals, Alexandre Desplat’s rapturous score, amazing set and costume design, and an inventive and compelling script. The film is definitely an adaptation that manages to be not just a fascinating character study and coming-of-age drama but also so much more in its take on identity, womanhood, and the dreams of these four sisters. In the end, Little Women is a magnificent film from Greta Gerwig.

Related: (Little Women (1917 film)) – (Little Women (1918 film)) – (Little Women (1933 film)) – (Little Women (1949 film)) – (Little Women (1994 film)) – (Little Women (2018 film))

Greta Gerwig Films: (Nights and Weekends) – Lady Bird - Barbie

© thevoid99 2019

Love Songs (2007 film)

Originally Written and Posted at Epinions.com on 12/18/08 w/ Additional Edits.

Written and directed by Christophe Honore, Les Chansons d'Amour (Love Songs) is the story of a young couple who bring in a young woman into their lives. A threesome occurs as things become complicated as it's all told through song. A mix of tragedy, humor, and romance, the film is a tribute to the French New Wave as well as something upbeat with most French films often driven by cynicism. Starring Louis Garrel Ludivine Sagnier, Chiara Mastroianni, Clotilde Hemse, and Gregoire Leprince-Ringuet. Les Chansons d'Amour is an excellent film from Christophe Honore.

A young man named Ismael (Louis Garrel) is in love with Julie (Ludivine Sagnier). Ismael is also in love with Alice (Clotilde Hemse) as all three embark on a threesome that all three seem to be into. Yet, Julie is starting to be tired from the threesome as Ismael and Alice are also working together. During a breakfast with Julie's parents and two sisters, Julie and Ismael attend where Ismael entertain the family. Yet, Julie reveals to her older sister Jeanne (Chiara Mastroianni) about the threesome as her mother (Brigitte Rouan) listens as well. After eating dinner at a bar with Alice, Ismael and Julie go with Alice to a concert as on the way. Alice reveals that her role in the relationship was to bring them together. At the concert, Alice meets a guy named Gwendal (Yannick Renier) but Julie feels ill where something horrible happens.

Now alone, Ismael is confused on what to do as Jeanne arrives at the apartment to pick up Julie's things. With Ismael at work, his relationship with Alice has changed where she's now living with Gwendal and his little brother Erwann (Gregoire Leprince-Ringuet). Erwann is attracted to Ismael though Ismael isn't sure about this as he befriends him. With Jeanne now living at his apartment for a while, Ismael hangs out with Erwann though still haunted by the memory of what happened to Julie. During a lunch with Julie's family, it's been revealed that Ismael has inherited some money which he refuses to take. After a one-night stand with a bartender named Aude (Annabelle Hettman, Ismael learns that Jeanne is at the apartment still wanting to talk to him.

With Alice wanting to break up with Gwendal, she is convinced that she's followed by Erwann but is really following Ismael. Unsure of Erwann's intentions, he decides to continue the friendship as they grow close. When Alice gets contacted by Julie's mother and sister Jasmine (Alice Butaud), they wanted to know what was going on in Julie's relationship with Ismael. When Jeanne learns of how Ismael is coping, she confronts Ismael about what happened with Julie where Ismael is trying to figure out what went wrong as well.

The film is about the impact of a threesome between a young man and two women and the aftermath of how the young man tries to cope with the loss of one woman. When the other pulls away to form a relationship of her own with another man, the character of Ismael goes into a period of grieving and just trying to figure out where to go to next. All of this is done in song as several characters sing to convey what they're feeling and such. The approach is done naturally thanks in part to Christophe Honore's direction where it feels natural instead of staged. With his hand-held approach, on-location shooting, and compositions reminiscent of the French New Wave style. Though it's not perfect due to a few pacing issues and plot-staging. Honore does create a film that is truly entertaining and full of life despite its thematic tone towards tragedy.

Cinematographer Remy Chervin does excellent work with the film's colorful shots of Paris in the day and nighttime in its exterior settings along with wonderful blue-like shots of some of the film's interiors and soft lighting to convey the haunting tone of the film. Editor Chantal Hymans does a fabulous job with the film's editing, notably with speeding some scenes for humor along with cutting to play up to the film's musical tone as his editing is a highlight. Production designer Samuel Deshors and art director Emmanuelle Cuillery do an excellent job with the film's look for the home of Ismael and Julie along with the place Ismael and Alice works at. Costume designer Pierre Canitrot does a wonderful job with the film's costumes with the stylish dresses that Ludivine Sagnier wears to the suits that Louis Garrel wears along with the more youthful yet stylish clothes that Gregoire Leprince-Ringuet wears.

Sound editors Valerie Deloof and Agnes Ravez along with recordist Jean-Alexandre Villemer do excellent job in capturing the sound in its location as well as the vocal performances of the actors. The film's original music by Alex Beaupain is a wonderful mix of pop, rock, and ballads as all the actors do their own singing with the sultry Ludivine Sagnier bringing a breathy quality to her vocals with Chiara Mastroianni having a raspier quality that's reminiscent in the vocal style of her mother Catherine Deneuve. Louis Garrel had a more straight quality that works as someone who isn't a great vocalist in the traditional sense but managed to bring the emotional despair needed for those songs.

The cast is definitely filled with memorable performances from Jean-Marie Winling as Julie's father, Yannick Renier as Gwendal, Annabelle Hettman as Aude, and Alice Butaud as Julie's sister Jasmine. Brigitte Rouan is good as the concerned mother of Julie who wonders about Ismael's own emotional state in the aftermath of what had happened. Gregoire Leprince-Ringuet is wonderful as Erwann, the young man who has a thing for Ismael as he tries to flirt with him and such. Clotilde Hemse is very good as Alice, the third woman in the relationship who is the bridge between Julie and Ismael. Yet when that ends, she tries to move forward while providing some insight to Julie's family about that relationship.

Chiara Mastroianni is great as Julie's older sister Jeanne who is having an affair of her own, while dealing with loss and Ismael's behavior. Ludivine Sagnier is wonderfully divine as Julie, the woman of Ismael's life who feels frustrated as she tries to question about the status of her love life. Finally, there's Louis Garrel in a brilliant performance as Ismael. The protagonist who deals with loss and his own existential crises as Garrel brings a great sense of humor, charm, and subtlety to his performance.

Les Chansons d'Amour is an excellent and entertaining film from Christophe Honore featuring a superb performance from Louis Garrel. Fans of youthful, vibrant French films will enjoy it for its entertainment, bending of genres, and thematic tone. The film also has something for film buffs in its ode to the French New Wave while Louis Garrel is clearly becoming one of France's best young and rising talents in his work with Honore, Bernardo Bertolucci, and Francois Ozon among others. In the end, for a film with some excellent songs, musings on life, and that is entertaining. Les Chansons d'Amour is the film to go check out.

Christophe Honore Films: (Nous deux) - (Close to Leo) - (Seventeen Times Cecile Cassard) - (Ma Mere) - (Dans Paris)- (La Belle Personne) - (Making Plans for Lena) - (Man at Bath) - (The Beloved (2011 film))

© thevoid99 2014

The Dreamers

Originally Written and Posted at Epinions.com on 4/2/04 w/ Additional Edits.

One of the most compelling and seminal filmmakers from Italy, Bernardo Bertolucci has always been a lightning rod for controversy. Whether it was for the raucous, carnal sexuality of his 1972 masterpiece Last Tango in Paris or the five-hour epic film 1900, Bertolucci has always been considered a filmmaker of grand beauty and ambition. With films like 1970's The Conformist, many filmmakers including those in the U.S. loved his style and in 1987, Bertolucci reached his peak with The Last Emperor that won nine Academy Awards including Best Picture and a Best Director prize for Bertolucci. Unfortunately, following up a film like The Last Emperor proved to be a task that is hard to live up to. While latter day films liked The Sheltering Sky, Little Buddha, Besieged, and Stealing Beauty had their moments, they weren't up to par with Bertolucci's landmark films. After taking a brief hiatus, Bertolucci returned to the silver screen in 2003 in classic form with his homage to the French New Wave and the sexuality of Last Tango in Paris with The Dreamers.

Based on The Holy Innocents: A Romance by Gilbert Adair, who also wrote the screenplay, The Dreamers is a film about an American in 1968 France amid the turmoil of student riots in Paris meets up with two film-obsessed French twins as they explore sexuality and their passion for cinema. Directed by Bertolucci, The Dreamers isn't as shocking as Last Tango in Paris despite some surprising antics as the film really explores the relationship of three people and their love for cinema as they each explore their own individuality. With American actor Michael Pitt in the lead role along with young French actors Louis Garrel and newcomer Eva Green along with veterans Robin Renucci, Anna Chancellor, and a cameo from longtime Bertolucci associate Jean-Pierre Leaud. The Dreamers is a divine, lush film of racy sex and grand cinema.

It's Paris, 1968 where an American student named Matthew (Michael Pitt) is in the city learning to speak French and avoid the Vietnam War. Instead, he learns French through cinema at the French Cinematheque as he and many film buffs watch movies. He along with the hardcore ones decide to watch the films in the front row so they can be closer to the image as they're watching Sam Fuller's Shock Corridor. Then one day, the film buffs and French college students learned the Cinematheque has been closed by the government while Cinematheque founder Henri Langlois had been fired leading to a huge protest from students as they battle policemen. Matthew learns what's going where he meets a young Frenchwoman named Isabelle (Eva Green), who has chained herself to the doors, while her twin brother Theo (Louis Garrel) is wondering if he should join the protest.

Later in the day, Matthew befriends the two twins where they engage in talking about cinema where Isabelle says her first words were "New York Herald Tribune" from one of her favorite movies, Jean-Luc Godard's A Bout de Souffle. Matthew felt happy for the first time now that he has friends from Paris where later, he gets a call from the two where he's been invited to dinner. He meets Theo and Isabelle's Bohemian parents where their father (Robin Renucci) talks about non-violent protests that upset Theo while Matthew was fiddling around with Isabelle's lighter showing their father and mother (Anna Chancellor) the shape of the lighter and its table cloth. The parents are impressed with Matthew as they let him sleep for the night in the guest room of their huge flat where the next day, they leave for the summer. Matthew would then discover the closeness of Theo and Isabelle that disturbs him at first but he's also intrigued by it. With the parents gone, Theo and Isabelle let Matthew stay with them where they have conversations of films where Isabelle reenacts a scene from Queen Christina.

One day during a talk about films, Theo and Isabelle decide to test Matthew by seeing if he is one of them. To do that, they decide to run through a museum in the same place where three people ran in the Godard film Bande a Part in the time of 9 minutes, 45 seconds. Matthew is officially accepted since they beat the record by seventeen seconds where they engage in more film trivia in which, Isabelle asks Theo a film she's reenacting that he doesn't know. Since he forfeits, she forces Theo to do something to a picture of Marlene Dietrich. Theo gets a bit of revenge when he reenacts a scene from Howard Hawks' 1932 version of Scarface to Matthew that he doesn't know and he forfeits. Theo forces Matthew to have sex with Isabelle that Matthew at first was reluctant but gives in as Theo watches.

Isabelle and Matthew become closer while Theo insists, he and Isabelle are like Siamese Twins in their mind and they’re really one. Matthew really wants to be part of them where for the next few days, they just stay at the flat engaging in sexual games while eating very little food and spending all the money they had. Matthew finally had enough of the fact that Isabelle and Theo are inseparable as he tries to show Isabelle the ideals of American dating that Isabelle enjoyed but Theo' influence was becoming overwhelming. With the chaos of the student riots now looming as Communist union workers join in the protest, the lives of the three film-loving individuals are put to the test over their own idealism and exploration.

While The Dreamers isn't up to par with Last Tango in Paris or The Last Emperor in cinematic achievements or innovation, its clearly Bertolucci's best film since The Last Emperor. It's not just because the film has the same raunchiness of Last Tango in Paris since the film does show full-frontal nudity and with the uneasy subject of incest, it's really has also has this wonderful story of three people passionate about films and culture at that turbulent time. In many respects, the film is partially a thank you letter to the filmmakers that Bertolucci loved when he was young and pays tribute to those who love movies. The idea of sitting close to the screen just because of the image is understandable since some movies are more than just movies. In The Dreamers, Bertolucci uses film clips of some of those old movies including A Bout de Souffle and news clip of what was going in French including a reenactment where Jean-Pierre Laud recreates his own protest scene.

While Bertolucci's directing trademark style doesn’t do anything new, he does manage to bring a story together without making it too slow or too shocking. The only real flaw of the film is its ending which is a bit disappointing but in truth, shows the final development of the characters. Bertolucci still manages to make the film interesting with its characters and story as he presents the film as a thank you note while the sexuality is much more innocent than the one in Last Tango in Paris. Whereas Last Tango in Paris was more adult, The Dreamers is really more linked to the angst of Alfonso Cuaron's Y Tu Mama Tambien where the sex is explored as not just something new but also in an emotional standpoint. While some might think the idea of a naked woman dancing or showing a minute or two of two male penises is obscene and exploitive. Well, then those people should get over it. After all, guys get to see women naked in many films, why not give the ladies what they want? It plays well in film. Even the screenplay plays strength to Bertolucci's directing style where the story is filled with trivia and references to pop culture, politics, and the Vietnam War.

If Bertolucci's craft as a storyteller is as potent than ever, then his mastery in visuals remains flawless. Whereas his old cinematographer Vittorio Storaro helped capture the beauty of early 70s Paris in Last Tango in Paris, Fabio Cianchetti does a spectacular job in giving Paris a sunny, colorful look of 1968 Paris while in the flat scenes, the colors are filed with lushness. Cianchetti's exquisite cinematography may not be on level with the work of Storaro but Cianchetti does give life to Paris, especially capturing the turmoil. Since the film is a homage to the French New Wave and classic cinema, the clips that were edited by Jacop Quadri cut with the reenactments are well done. While the music from Jimi Hendrix, Janis Joplin, and other late 60s classics help give the film a time warp feel as if we're in 1968 all over again. Especially with Garrel and Pitt's argument over who is the better guitarist, Hendrix of Eric Clapton? No contest there on who is better.

While the smaller performances from Robin Renucci and Anna Chancellor as the parents were small, they were well played in their brief time. Really, the film belongs to its three young actors. Michael Pitt delivers his best performance to date after standout roles in Hedwig & the Angry Inch, Bully, and Murder by Numbers. Pitt brings in his wide-eyed boyish sensitivity in a calm, enchanting performance as he charms the audience as the film’s protagonist. Pitt brings a lot of himself not just physically but emotionally as a young man intrigued by sex and political drama in a role originally given to fellow American actor Jake Gyllenhaal. In the end, Pitt definitely outshines himself since his boyish innocence was well served than Gyllenhaal's more moody acting style.

Louis Garrel delivers an amazing, tough performance as Theo by using his own intellect as his strength. Garrel doesn't make his character be pathetic although his ideals seem to be a bit misguided if not, passionate. He definitely shines in a performance worthy of an international breakthrough. Newcomer Eva Green (who is the daughter of French New Wave star Marlene Joubert) is spellbinding as Isabelle with her kooky personality and oozing sexiness. Green's delightful energy and innocence brings a lot of sympathy and anguish as she explores her own individuality for the first time leaving her torn between the revolutionary Theo and the idealistic Matthew. Though this was her first film role, Green's performance is one to watch out for as she steps up to the plate as an international ingenue with her French counterpart, Ludivine Sagnier.

***Updated, DVD Tidbits 10/18/05***

The 2004 Dual Layer DVD from Fox Searchlight comes in two different versions. A R-rated version that's available on blockbuster that cuts a lot of the film's graphic sex. The other is the theatrical NC-17 version that is the most preferred. Both DVDs come in with the 5.1 Dolby Digital Surround for English Audio along with Spanish and French audio with English and Spanish subtitles. The film overall comes in its Anamorphic Widescreen 1:85:1 ratio presentation. The most preferred way to see a movie, particulaly a film by Bertolucci.

Overall on DVD, the film retains its look from the theaters as well as its audio. The DVD also includes several special features. One is the film's trailer along with the teaser trailer to another Fox Searchlight release, Zach Braff's 2004 debut feature Garden State. Another feature that was to promote the film's soundtrack is a music video of Michael Pitt and his band singing the Jimi Hendrix classic Hey Joe in a studio with Bertolucci listening in on the track with clips from the film.

Two documentaries appear for the DVD. One is a making-of featurette entitled Bertolucci Makes The Dreamers in which Bertolucci is seen making the film with his actors and his crew. It's a wonderful 50-minute documentary of how the director works and over the years while making his actors comfortable for the sex scenes with very little people around that scene. The actors talk about working with Bertolucci and how after a few days, they felt comfortable with him to the point that he gave them enough freedom to be the characters. Bertolucci also talked about how he almost didn't chose Michael Pitt only to realize that he was the right guy after Jake Gyllenhaal dropped out of the film.

The second documentary entitled Outside the Window: Events in France, May 1968 is a 15-minute documentary which is about the chaos surrounding France in that year which included the closing of the Cinematheque as well as the working conditions and wages. In the end, politicians resigned although some felt at that time that the revolution was lost. With interviews from Bertolucci, writer Gilbert Adair, and those talking about that year knew the impact it had and they felt that now, some things did change because of those protests. Both documentaries are insightful to watch.

The final special feature is a commentary track from Bertolucci, Adair, and longtime Bertolucci producer Jeremy Thomas. Though each individual's commentary was recorded seperately, all three do give an insight into the film. Bertolucci talks about a lot of the film's politics, his approach to shooting sex, and how the actors got to know their characters so well that made him give some free reign into their performances. Gilbert Adair talks more about the stories in the film and its comparison to his original novel while giving some insight into the historical part of the film and the movies its referenced.

Jeremy Thomas meanwhile, talks more about the business and technical aspect of the film where everything in the movie was shot on location. He also talks about the rating system in the U.S. which he dislikes as he and Bertolucci fought the MPAA to release their film, even if it receives the dreaded NC-17 rating. Thomas insists that the version people saw in the theaters is the same version that the world got to see and was happy that people did see the film. Especially since The Dreamers did modestly well in the U.S. despite the rating. Overall, it's a nice commentary track despite Bertolucci's annoyance on the DVD market. The DVD for the The Dreamers is a must-have for fans of the film and anyone who loves Bertolucci.

***End of DVD Review***

The Dreamers is a lovely, colorful film of sexuality and cinema from the master filmmaker Bernardo Bertolucci. While it's not a perfect film, it's still a worthy return to form for the Italian film legend as he help shine out new stars in Michael Pitt, Louis Garrel, and Eva Green. Those interested in the French New Wave of the 1960s will find this film as a nice introduction while it's really a film geared towards cinema lovers. Those who enjoy sex films will indeed enjoy this but again, it's a movie not for everyone and you have to be 18 to see it. Overall, it's Bertolucci's thank you to sex and cinema as he proves himself again to be the master storyteller of the past. The Dreamers in the end, is a delightful film of sensuality and passion for culture amid the chaos of 1968.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - The Sheltering Sky - Little Buddha - Stealing Beauty - (Besieged) - (Me & You)

© thevoid99 2011