, and the more accomplished acting and on-screen action of Bertolucci's films interested me more. I was drawn in by Bertolucci's intriguing style, eager to see more. Our first encounter with Bertolucci pricked up my ears, so to speak, to a shift in the films we studied, from the neorealists to Pasolini. Before The Revolution has a visual depth to it that one rarely sees in films of today. Even though the film is in black and white, the on-screen detail possesses a dark beauty that pulls the viewer in. I remember especially the shot through a chain-link fence of boys leaning against it. Not only are the expressions on the boys' faces authentic, the "colour" of the shot is incredible, almost to the point of being saturated, with their faces and the areas behind them equally, but differently, accessible to the eye. This shot was also a good example of the close space used in the film. It isn't uncommon with interior shots to use close space, but to achieve the same effect with exterior shots is really something to see. My favorite example of Bertolucci involving the camera with the action is the on-foot chase scene in the forest in The Conformist. The camera runs with the woman in a jarring hand-held series of shots, making the viewers feel as if they are running along with her through the thinly snow-covered floor of the forest, running for their lives as she is for hers, trying to escape the assailants. The use of light and shadow in this scene, as well as the rest of the film creates a lush visual terrain that one can't help but be enamoured with. Another example of the authenticity of Bertolucci's visual style, as well as the gripping action of his films can be found in Last Tango In Paris. However, this film is a little different than his other films in that he creates images that are amazing to view, but this time you can't pull yourself away. The brute force of Brando's acting, along with the unbridled lust between Paul (Brando) and...
