1900 Page #12

Synopsis: Set in Italy, the film follows the lives and interactions of two boys/men, one born a bastard of peasant stock (Depardieu), the other born to a land owner (de Niro). The drama spans from 1900 to about 1945, and focuses mainly on the rise of Fascism and the peasants' eventual reaction by supporting Communism, and how these events shape the destinies of the two main characters.
Genre: Drama, History
Director(s): Bernardo Bertolucci
Production: Paramount Pictures
  2 wins & 4 nominations.
 
IMDB:
7.7
Rotten Tomatoes:
47%
UNRATED
Year:
1976
317 min
1,542 Views


Clothes of honor, and not much money,

the mayor stakes his wife.

-Oh, l'm sorry. Forgive me.

-Signor Alfredo.

Cavaliere Pioppi would like

to have a word with you.

What shall l say to him?

l thought l told you not to come

into this place with mud on your shoes.

Cavaliere Pioppi.

You all know Cavaliere Pioppi,

the only honest man among us.

Now, if you'll excuse us

for a few minutes.

No, don't worry. Don't worry about it.

Everything will be all right.

You'll have a return match.

You'll lose some more livestock.

Thank God you have your health.

l'm glad one of us

has a little enjoyment.

We've...

We've trouble making ends meet.

Our lands have been barren. We've...

As you must know,

your father and l were friends.

He was always telling me,

''Careful, Pioppi,

you're not an administrator.

''You let things get out of hand.''

-But he'd help us.

-Yes, he helped us.

He helped us sign so many mortgages

there's not a piece of land

left in our name.

l wouldn't have bothered you,

only she insisted.

You and l

have been rather good friends.

lt's embarrassing. l...

-How much do you need?

-Oh, l knew you wouldn't refuse us.

You're more understanding

than your father was.

Well.

Well, do you have anything left

to mortgage at all?

The villa.

Olmo.

Hello.

-The house, you said?

-The villa.

-You're not allowed in here.

-Get away.

You don't learn easy, do you, boy?

You don't listen, do you?

Get away!

You've been told 100 times you're not

allowed in here. Don't you push me!

Somebody's gonna teach you a lesson

you'll never forget.

-Get away!

-Now, you get out of here!

You don't learn, do you?

You're gonna come to a bad end, boy.

You think you're the king

of this f***ing castle.

-Get away.

-Attila.

The time's come when l'll show you,

once and for all, you're not!

-Now, you get out of here!

-Get away!

What the hell is going on over here?

His shoes are dirty.

What are you doing here?

What do you want?

All right, l'm poor,

a peasant, a worker and a killer.

-And l want my daughter!

-Attila!

''By the...''

''Rushes.''

''...rushes and under the sky,

''my lovely house doth lie.''

Good girl. Here you are.

-Anita, come home.

-But, Papa, not before l finish.

l don't like you to come here,

you know that.

She has to learn how to read and write.

You're not her mother.

l don't want her here!

He's right, you know.

l mean, what the hell gives you

the right to act like a missionary?

What the hell gives you the right?

l love that child!

l don't care whether you love that child.

The child is out of place here.

Leave other people's children alone.

All right. Now l'll devote myself

to our children!

No, don't! Just devote yourself to me!

November's the cruelest month

of the year.

Damn it!

B*tch. Filthy b*tch!

But l'll get in there. l'll get a bottle.

The key.

Now, give me the key.

The key!

Go and get drunk at the tavern.

We're respectable people

here in this house.

Didn't you know that?

l want that key!

l stick it up your ass!

You stupid thing.

How stupid you are.

But why shouldn't you have

what you want?

You must drink all you want.

You're the padrona.

Aren't you the padrona?

So you'll have all the drink you want.

Help me. Why don't you help me?

You want a drink?

l don't want it anymore.

l baptize you,

Regina, queen of the b*tches.

Ada!

Good evening.

Go to bed, little witch. Go on.

Ada.

Good night, angel.

Sleep well.

Signora,

care for some wine?

Yes, l don't mind if l do.

-A drop is good from time to time.

-Two or three, even.

lt's so nice here.

What's so nice, may l ask?

Anita saying good night.

The smell of your supper.

The way you are all together.

And your mother sleeping by the fire.

Well, you may live here

if you find it so nice. l'll put in a cot.

You know the big doors

that open into the court?

Every evening,

the padrone would close everybody in.

-Really?

-l remember the key.

lt was as big as that.

And so the peasants were all locked up,

same as prison.

We were able to dance,

to sing to our children.

Able to die, but impossible to get out.

We had to be shut up like beasts

till morning.

Then what happened?

Came the morning,

the padrone would send a servant

to open the door for us.

l'm not talking

about the Middle Ages, either.

-Amusing, no?

-No.

Grandfather Leo was alive.

l was just a little boy.

Once Alfredo got into our house here

and was locked up with all of us.

Well, the doors are open now

but Alfredo never comes.

What do you think of Alfredo?

The padrone are our enemies.

We have to destroy them all.

The padrone's Alfredo.

And me?

You are the padrona.

No, not really.

l am the wife of the padrone.

Anita, don't you think her mother

would have wanted her to study?

Olmo.

Rosina, we woke you up.

Olmo.

-lt's all right.

-Go away.

-l had a terrible dream, Olmo.

-lt's all right, Mama.

l was on the top of a mountain

with Grandfather Leo.

-Yes.

-''Look down,'' he said.

-Come to bed.

-''Those are the years to come.

-''One is limping, another is blind.''

-lt's all right.

-''That one has no head.''

-lt's late, Mama.

Take little Anita and run away.

Run, Olmo. Everything's gone to ruin.

-Do you hear that? He's there.

-Shut up.

Over there. l saw him. He was moving.

He comes to spy.

Go away, go away. Leave us alone.

Do something!

Here?

Here?

lt's a cat!

Every night l dream of that kid.

He's all covered with blood.

l hate him.

You drive me crazy.

l'll never come

to this f***ing room again!

Don't be angry. l'm fed up, too.

Whenever we feel like doing it,

we have to behave

like a couple of thieves.

Hiding.

You could change all that

if you wanted to.

You give the orders around here.

He's as weak as a jellyfish.

Ada's drunk all the time.

You have the keys to everything,

don't you, my dear?

No. l deserve a house of my own,

fit for somebody like me.

l know one.

-Where?

-Villa Pioppi.

The mortgage is nearly due.

Can't you see us,

the two of us,

sitting together

in Chinese dressing gowns,

listening to the radio

broadcast from Rome?

A servant very quietly comes in

with two glasses of Marsala wine.

Marsala, my ass. l want champagne.

Hey!

Stella!

Hey, where are you running?

What's the matter, sweetheart?

They took him away!

My Martino and his brother Gelindo!

Who did it?

lt's those guards.

They're taking them away.

The guards? What? Wait.

Wait. All of you, come with me.

No. Olmo, where are you going?

Have you lost your head?

Will you put that gun away?

You'll get us all in trouble.

You promised to look out for us

and not lose your head like this.

Prison.

Yes, prison.

Prison.

Prison.

-Olmo, where are you going?

-Prison!

Come back, Olmo!

Wait, Stella!

Martino! Gelindo!

Wait, Stella.

Stella.

Hold on, comrades!

We'll get you out of this!

Stop. You'll only make it worse.

-Hold on! Hold on!

-No, no!

Martino! Gelindo!

You'll make it worse!

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Franco Arcalli

Franco "Kim" Arcalli (13 March 1929 – 24 February 1978) was an Italian film editor and screenwriter best known for his work with Bernardo Bertolucci and Michelangelo Antonioni. more…

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Submitted on August 05, 2018

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