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Bernardo Bertolucci: Existentialist film, existentialist song

Dec 02, 2018 Features / Columnists, Freddie Kissoon

In one of my columns, seven years ago (Sunday, July 17, 2011) captioned, “Bernardo Bertolucci’s “Last Tango in Paris,” I wrote the following; “In 1972, one of cinema’s phenomenal directors, the Italian Bernardo Bertolucci, made a movie with one of cinema’s most talent actors, Marlon Brando. “Last Tango in Paris” was frowned upon by many countries for pornographic content. Bertolucci suffered a harsh fate in Italy.
His film was banned, he was put on trial, sentenced to four months (suspended) and had his civil liberties revoked for five years. Today, “Last Tango in Paris” is a joke if one is going to talk about pornographic content in movies, including some of Hollywood blockbusters. Bertolucci had the last laugh. He received the most prestigious award this year at the Cannes Film festival for his creative talent. “Last Tango in Paris” is now regarded as a classic film.”
Bernardo Bertolucci is dead. He died last week, surprisingly at the young age of 73. If I had to choose a director of films that I prefer over all others, I would say it is Bertolucci. Growing up in Georgetown in a Hindu family, children of my age got the best of both worlds. We were introduced to Hindu movies and Indian pop melodies and because I lived in a predominantly Creole community in south Georgetown, ska, reggae, rhythm and blues, soul and disco I soaked in.
It was while growing up in Wortmanville I fell in love with one of the most beautiful songs ever done, “Love’s Theme,” the disco melody of Barry White. If I had to choose an English song that I like the best, I believe like most people, it would be impossible to just rattle off your head your number one. But “Love’s Theme” comes very close to being on top of my list. I think your favourite songs and movies are intricately connected to your personal life.
My number one Hindu film is “Mera Naam Joker.” It has to do with the same theme of “Last Tango in Paris,” and that is the existentialist life we think we can escape, we cannot. I also liked its maker, Raj Kapoor, as my best Hindi film director. “Mera Naam Joker” reminds me most vividly of my mom. She convinced me to see the movie, because she thought it was the greatest movie ever. The film holds dear memories for me because I saw it at the Empire Cinema with Boyo Ramsarop, father of well-known former AFC activist, Gerhard Ramsaroop. Had I not met Boyo, I probably would never have come out of Wortmanvile alive.
My number one Hindi song is “”O Mere Dil Ke Chain” from the movie “Mere Jeevan Saathi,” I like that song as any other song from any other language. I saw the movie, didn’t care for it, but that song is just phenomenal, with a phenomenal singer whose saccharine voice is simply superb, Kishore Kumar. I don’t think the Hindi screen could ever find his replacement.
But there is a memory behind my love for it too. A group of us went to see it with Boyo at what used to be one of the most famous cinemas in Guyana, whose owner died three weeks ago, “Liberty Cinema,” at the junction of Garnett Street and Vlissengen Road. Days after, one of the group, a best friend who taught me about the seriousness of life left Guyana, never to return.
It was through his influence I studied for my GCE, passed, went into UG and never looked back at my tragic life on D’Urban Street in Wortmanville. If there are two songs I would love to dance with my wife and never come off the dance floor, they are “Love’s Theme” and “O Mere Dil Ke Chain.”
It was sad to hear of Bertolucci’s death at just 73. “Last Tango in Paris” is simply the most angst-filled movie I have ever seen. It remains one of the most philosophically pronounced films ever done. It is a brilliant piece of art by an equally brilliant director. The theme song (a Grammy winner) was composed by the superb Argentine saxophonist, “Gato” Barbieri (I prefer the Marlena Shaw version). If you want to hear a song about the futility of human existence, then listen to that tune.
For a commentary on the theme of that theme song, see my column of Sunday, May 11, 2017, titled, “We are nothing but shadow and mist.” I also like his other philosophical film, “The Dreamers.” Again, the contents are of an existentialist nature. It explores the meaning, if any, of the age of the hippies, an age that I came from.

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