1900 Page #16

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
1,601 Views


to those who'll work it?

Yes. Come on! Come on!

Let's go.

Come on, you blockheads.

Oh, how many there are.

Who are you? No one knows you,

and yet you speak words

we've always wanted to hear.

This man is Carnellio,

and l am Rondina, his wife.

We come from the mountains.

The Nazis, they burned everything,

all our houses.

And the fascists,

they took all our goods.

l say, first of all,

we have to give them a place to sleep.

Best let us sleep inside the sheds here.

No, the shed is for vagabonds.

And the house is where comrades stay.

Pigsties are for the fascists.

Everything will be fine.

So glad that l shall die

And yet l'm sorry

l'm so sorry that l die

So l won't worry

Shut up, you gravedigger!

Who goes there?

The people's committee

for community swine allotment.

More pigs than l ever saw.

Come here, my beauty.

Oh, let me kiss you.

Come, another. l need another kiss.

Oh, let me touch you,

you're so beautiful.

Let me get on you.

-l want to spend the whole night...

-Can't you show pity?

Bastards! Bastards!

13, 1 4, 15,

16, 1 7, 18.

And with those two sitting there, it's 20.

Just a moment, comrades.

My heart's heavy in me.

Abolishing the padrone's rights

will make me feel

100 better, l can tell you that.

Then l guess we must be idiots.

Nobody can make out

what you're saying.

Take a look at all these pigs in here.

Prosciutto, salami, sausage,

feet and knuckles, and lard,

and mortadella.

Who do they belong to now?

Listen here, you'll own all the animals.

Socialism can bring it all to you.

How do l know that socialism

is really going to feed me?

And what my heart is heavy for

is those two souls there.

All the Dalcos step forward.

You others from the mountains

ruled by priests,

instead of wallowing in ignorance,

try beating your head three times

to let in socialist ideas.

-What do you want to do?

-You heard him.

So did you, about beating your head.

Why beat our heads three times?

What did he mean?

Beating your head makes no sense.

Look at him.

Look at him.

Look at him.

l can see you're a man of feeling.

Help him.

Don't you see he is dying like a pig?

Help him.

ln the name of humanity.

Look, right there

is where my grandfather's buried.

''Patrizio Avanzini,

''tender flower

plucked by the cruel hands of destiny.''

Cruel hands of destiny.

Destiny's hands.

My hands.

The cruel hands of destiny.

Regina.

Regina.

Our children will harvest the seeds

we have planted, Regina.

You are as ugly as sin.

-Get away!

-Don't cut her hair!

Don't cut her hair!

PlERO PlOPPl

DlED AS HONESTLY AS HE LlVED

lDA CANTA ELLl widow of PlOPPl

GOOD AND SAlNTLY WOMAN

OFFENDED BY:

THE CRUELTY OF TlME

''Canta Elli Pioppi.

''Good and saintly woman,

offended by the cruelty of time.''

l am that cruel time.

Me. l killed that crazy b*tch.

And that little turd, Patrizio.

Me, Attila Mellanchini.

Fascist.

Man.

Pigs.

Scum.

Shits.

Turd.

Stop that music!

This is not a dance hall!

You have no respect for our dead!

Look, everybody.

Come here, everybody!

-Who is that?

-l don't know.

Kill me. Kill me!

Kill me, quick. Kill me.

Kill me.

Kill me!

-Get away.

-Kill me.

Be careful. Watch from behind here.

Don't look when a lady is pissing.

Halt. No one can pass here.

Go on.

-Who is that?

-lt's the padrone. He is my prisoner.

Why are you holding him

here in this stall?

l'm waiting for the partisans.

lt takes a pretty smart boy

to fool with such a gun.

Go, Marina. You be the first one up.

Careful you don't fall.

-Paint out all the fascist slogans!

-Paint everything out!

-Throw the paint on!

-Brush out. Brush out everything!

No! No, wait! That goose is mine!

That's my goose! lt's mine!

Where are you going?

Give it to me! Give it back!

lf it's yours, then it's everybody's.

lt can't be yours if it's everybody's.

Did you have to pick mine

to be everybody's?

Make it redder! Put more red on!

Stop tickling.

Stupid ass.

Cut it out.

l'll kill you.

Will you look who's here?

We forgot all about our padrone.

Even forgot to arrest him.

Good for you, Leonito. Good boy.

The children have

more imagination than we do.

Excuse me, padrone, l held my hand

back so long, it escaped on its own.

And my foot escaped, too.

Are you Olmo?

l hand you my prisoner.

Bravo.

Hey, are you sleeping?

Ada never came back, you know.

-You'd rather she were dead, huh?

-Well, at least you came back.

Are you sure we hid it here?

-l hereby declare...

-Give me the paint.

...the people's trial

of Alfredo Berlinghieri,

padrone and therefore enemy

of the people, now open.

l declare the people's trial

of the padrone open.

-How did you know it was there?

-Because l hid it.

l hereby declare the people's

trial of Alfredo Berlinghieri,

padrone and therefore

enemy of the people, now open.

Sit down here. This is going to be good.

My feet are killing me

but l don't want to miss the show.

-Do you know when...

-She didn't come back

because if she had,

she'd have stood trial with you.

Do you know when she ran away?

She ran away the day that you ran away.

She's cleverer than you.

You stayed to be the padrone

right to the end.

What are you writing, Anita?

-We're not in school now.

-Give us a hand, Anita.

This is a people's trial.

What's there to write?

Comrades, what's done

is worthy of being written down,

and what is written down

is worthy of being read.

Just a minute.

-Oh, look at our flags!

-All our flags together!

That one belonged

to the Workers' League, remember?

Me and Rosina sewed them.

lt got bigger every year.

Olmo, l know we're ignorant,

but how can we have a trial

without a lawyer?

l bring you the accused

and you ask me for a lawyer?

l mean, isn't that enough?

But we are the ones

who caught him, not you.

No, you didn't catch him, either.

He surrendered to Leonito

right after he saw his gun.

Yes, you're right.

Lift it high! Higher!

Let's dance! Come on!

-Dance.

-Get away.

Dance! Come on.

Dance!

When a mute begins to speak,

he has much to say,

but the poor man is tongue-tied, as well.

lt's all right.

Speak with your heart, old man.

Stop the music.

l lost them harvesting

your wheat for 60 years.

Can you make good now?

Can they be returned?

Why did all these teeth drop out?

The padrone's are still there,

all shined up.

He's able to munch with them

all day long.

We made money for you

and you spent it.

-You're washed and we're filthy.

-You rest while we work.

You had plenty in your stomach

in the famine.

You're just a leech but your

old grandfather was even worse.

lt's true. After a hailstorm,

he wanted to fire all the day laborers.

He wasn't the one.

lt was his papa, Giovanni.

He's the son. lt makes no difference.

A padrone remains a padrone.

All land needs laborers,

otherwise it would go to ruin.

But the padrone?

Does anyone need the padrone?

l have one thing to say.

l've never hurt anyone.

l've never hurt anyone.

All the padrone

Rate this script:0.0 / 0 votes

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…

All Franco Arcalli scripts | Franco Arcalli Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "1900" Scripts.com. STANDS4 LLC, 2025. Web. 24 Feb. 2025. <https://www.scripts.com/script/1900_1579>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    1900

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "on the nose" dialogue?
    A Dialogue that is subtle and nuanced
    B Dialogue that is humorous and witty
    C Dialogue that states the obvious or tells what can be shown
    D Dialogue that is poetic and abstract