Bertolucci's sense of sympathy, I think, is most vividly shown in this film. Origin theory and class theory seem to block the two partners of the same year, but too many life experiences and too few fantasies are like yeast, prompting friendship that has accumulated over the years.
In 1900, on the day the musician Verdi died, Alfred, the grandson of a manor owner, and Olmo, the grandson of a farmhand, were born one after another in a competition style, and then their lives were constantly contested: catching frogs, lying on rails. , chasing the little girl, and even the "long things" that every boy minds... The young master expects that he can keep up with the little rogue without a trace, and the little rogue seizes every opportunity to laugh at the young master's sternness. However, it didn't prevent them from avoiding the people of their own class and huddled together to watch the stars, and after the fight, they hurriedly cleaned up the mess. It's no wonder that after the First World War, the young master of the officer and the farmhand and soldiers hugged each other uncontrollably, and even humbly enjoyed the girls who sold their bodies to each other, and it was no wonder that they fell in love with the same woman.
That belle of French descent, trendy, fragile, like a muse who traveled from the left bank of the Seine to Italy, she was the wife of a young master, the housewife of a manor, and the nameless pain of the bourgeoisie, but she stooped to the table of the farmhand, Hooked on the shoulders of the proletarians. She could never endure hardship with Olmo, and she could never endure Alfred's cowardice. She stepped on her own pace, like a little flag-bearer singing a Marseillaise. out of the eyes of two men.
Alfred is actually a traitor to his class. Like his grandfather, he learned to be gentle with farmers. He despised the oath of allegiance to Italian fascism. He even gave Olmo his family pistol. Olmo was his only friend, he said. He knows what a friend is, that is, people who can make fun of each other, fight each other, hurt each other, but can't live without them for the rest of their lives.
Olmo complained to the housewife, what was he complaining about? The owner, Alfred, came to his dwelling less and less often. What he forgets is that he has always resisted and refused to admit that "wolves will be kind to sheep", and what he can't forget is that when he was framed as a murderer and beaten by the black shirts, Alfred's eyes were like Celsius. degrees of water.
At the end of World War II, the wealthy and leisure class were being devastated, and finally the landlords were criticized. Olmo, the proletarian, was the leader of the farm laborers, and he took the lead in exposing and criticizing Alfred. But when a poor boy was as aggressive as Olmo used to shoot his master Alfred, Olmo panicked more than anyone else. "Landlord" Alfred is dead, and Olmo asks to leave Alfred as "man" to him. However, Alfred did not appreciate it. In the field, the two white-haired grandfathers brazenly used sticks to fight, just like in the past, they were rolling in the haystack.
There is also a big name, Grandpa Donald Sutherland, who has a pair of wolf eyes. He is the new foreman of the manor, a typical gangster proletarian, who has hooked up with the young master's cousin, and stands firmly and resolutely in maintaining the position of the reactionary class, acting as a fascist. The thug, the little leader of the black shirt party. But his most important role is to show the young master's feelings for the farmer in a twisted way: Alfred reprimanded him, but never reprimanded Olmo; Alfred demeaned him in order to maintain Olmo's self-esteem; Alfred De fired him because he had privately sold Olmo like cattle...
Bertolucci used a family chronicle to recreate half a century of turmoil in Italy in great detail; , or the theme of "the individual is the hostage of history": how to cultivate it, how to eliminate it, and how to engrave it into the bone marrow.
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