1900 – Novecento (1976)

Directed by: Bernardo Bertolucci | 300 minutes | drama, war | Actors: Robert De Niro, Gérard Depardieu, Dominique Sanda, Francesca Bertini, Laura Betti, Werner Bruhns, Stefania Casini, Sterling Hayden, Anna Henkel, Ellen Schwiers, Alida Valli, Romolo Valli, Giacomo Rizzo, Pippo Campanini, Paolo Pavesi, Roberto Maccanti Antonio Piovanelli, Paulo Branco, Liu Bosisio, Maria Monti, Anna-Maria Gherardi, Pietro Longari Ponzoni, Angelo Pellegrino, José Quaglio, Clara Colosimo, Carlotta Barilli, Odoardo Dallaglio, Sergio Serafini, Patrizia De Clara, Fabio Garriba, Nazzareno Natale, Stefania Sandrelli, Donald Sutherland, Burt Lancaster

With ‘1900’ Bernardo Bertolucci delivers a long but powerful film about friendship, jealousy, social abuses and the rise of fascism in Italy. It is great that the film continues to fascinate, despite the length, which differs greatly due to censorship problems. The strong cast takes the whole thing to a higher level with good acting. Robert De Niro is one of the famous names. He is in great shape as a rich lad, growing up in the oppressive Italy of the “Duce”, Benito Mussolini. Earlier in 1976, he made an impression as Travis Bickle in Martin Scorsese’s ‘Taxi Driver’, but in ‘1900’ De Niro’s role is completely different. Frenchman Gérard Depardieu also impresses as the courageous farmer’s son Olmo who, unlike De Niro, finds himself at the bottom of society.

Both boys grow up together, but one is rich and the other poor. Bertolucci (‘Last Tango in Paris’, 1972) beautifully elaborates on the different paths both take – sometimes by origin, sometimes by social changes. The director takes the time to develop both characters without going into too much detail. In the end, the wealthy De Niro is less solid in life than Depardieu, who has been known as a bastard from birth. Other cast members also deserve praise. Donald Sutherland is clearly present, in a theatrical but clever role as the unreliable fascist Attila. In Sutherland’s first scenes he tends to “overact”, but later it becomes clear that Attila is fascism in person. He represents the evil that lurks in every human being. Furthermore, veteran Burt Lancaster is strong as De Niro’s grandfather, who can’t handle wealth and assaults underage girls.

With ‘1900’ at first sight, Bertolucci paints a picture of a rapidly changing Italy between 1900 and the Second World War. The time transitions of roughly forty years flow into each other in a masterly way. Very handsome. Industrial changes and the widening gap between rich and poor are splitting the nation in two. People with money support fascism and the agricultural workers unite on the socialist side. But ‘1900’ offers more. The film revolves around two boys who literally keep bumping into each other in their lives. In addition, the film shows a humiliating picture of the life of the rich. In ‘1900’ the wealthy are insecure, suffer from feelings of guilt and succumb to mutual jealousy. The women in particular do not allow each other the light in the eyes and De Niro’s attractive wife is in danger of succumbing to alcohol abuse. Moreover, the film shows a bleak picture of old age, with Lancaster as a shining example. When you get older, they write you off. Things don’t end well with Lancaster. Bertolucci’s style is confrontational. You’ve got to love it. Bertolucci makes no bones about what he wants to convey. Whether it’s naked women or a pornographic intermezzo of a hooker with two men. But also a brutal execution of civilians by fascists and farmers who slaughter pigs in a primitive way.

With ‘1900’ you can fill a few evenings with film. Some versions are four hours long, others more than five. Despite its length, the film continues to fascinate and that’s great. Strong roles from De Niro, Depardieu and Sutherland. Intriguing image of a country torn apart and the choices people make in times of fear and oppression