I made this review the other year... for my film class (HUM 3)
I loved it because this is by far one of the most read review i had... and it was straight and justified.
:)
I hope you'll watch the movie too. its a bit sensual though.
Masochistic Exhibition
Simplifying the pleasure of the gaze in the film is quite a fascinating approach to a co-existing imagery of patriarchal projection of scopophilic dimension of a male form. In the film “The Dreamers” by Bernardo Bertolucci spraddled the manifestation of the female as an object and that the woman became a symbol of interest and voyeurism. The film contained erotic gazes centralizing in the existence of sex, masturbation, nude bodies and desires to promulgate the latter. Because of this, all male interests and needs are exalted while females are made subservient to male desires making the film more overt to patriarchal spectatorship. The movie's theme would constantly would probably about cultural revolution in the bridge of war set in 1960's. What makes the movie surprisingly effective is its subdued respect for movie itself oblivious to what is going on outside. The debates about Chaplin and Keaton, the games on film dexterity, and the record run through the Louvre in Godard's Bande à part were the memorable parts of the film aside from the aesthetically presented alienation of bodies striking anywhere. This is the perverted take on the appeal of innocence and divergent. It satisfies the male interest with excessive exercise of peeping toms and voyeurs in a controlling sense to gratify the pleasurable instance of distinctive development of the film itself. The film was more of the character building rather than the story.
The presence of 2 male forms and one female describes the explicit ideology of tension drive between an overlying form of ego identification and the libido in the state of mocking and provoking the viewers to partake such an indispensable fantasy of a man and and a woman making love. The heroine Isabelle(Eva Green) became a display of sexual desires in the leit-motif of the spectacle and also the pin-up where Theo (Louis Garrel) masturbated in front of. As projected in the story, the radical exhibition of passion takes one step closer than the usual favoring the cinephilia over politics. It generally reminds the audience the indulgence of sinful gazes and approach on youth and perhaps the collective culture itself. Cinematography is one thing, the admirable and cautious transcendental approach of Bertolucci came about creating a more sinful atmosphere in the midst. It can be considered a controversial film with such relative exposure of bodies and skin and the power of gestures and makes it more vindictive. Bertolucci's fetish for wild hot sex has been taken to the upper level. The setting was also a great adept to increase the passion and the love for cinemas as well as the overusing heat of sex and contentment. The re-enacted montage of film was also greatly delivered by the actors stiking a more featuristic approach to movie lovers and cinemaphilias. The riot also signifies the intensity and the array of life in the film.
This wonderfully crafted film is a demonstration of a relatively indistinct representation of control and deeper disintegration of ideas and beliefs beyond bewilderment. It is recommended for film viewers whose intellect matches the intricate form the movie. For those of you who wants action and a fast-paced intricately made avenue for sex and desire, this would be a great movie to watch out for. The high eroticism favors the psychoanalytic deception of minds and interest for scopophilia.
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