zetes Bertolucci was heavily indebted to Godard and the other French New Wave directors in his sophomore feature, Before the Revolution. His third feature, Partner, has him follow Godard into his fin de cinema. Partner is a purely experimental film with little narrative. It's definitely a turn for the worst for Bertolucci. Thankfully he was drawn back into narrative cinema with his fourth film, The Conformist. Partner is worth seeing for fans of the director and New Wave enthusiasts. It has some interesting points. The minimal plot of the film has Pierre Clémenti playing a man with split personalities. Most of the rest of it is made up of random vignettes. Some are amusing, some are annoying. Some are just plain boring. Unfortunately, there just aren't enough amusing ones to make it an easy watch. Clémenti is excellent, and Bertolucci lives up to his reputation as one of the cinema's greatest visual minds. Stefania Sandrelli, who would go on to star in The Conformist, appears briefly with curly blonde hair. She doesn't do much, but she's gorgeous.

artihcus022 Bertolucci's third feature is one of his greatest films yet it's not very well known despite it's beautiful use of colour and 'Scope and a great and unique musical score from Ennio Morricone.Maybe because the subject matter or the theme of the film is very oblique and fairly intricate and more subtle than his later direct tackling of themes such as class, sex and identity and also unlike ''Fight Club'' which deals with the same themes it doesn't become schizophrenic and fall in love with what it is against. It also has one of the greatest performances of the 60's from Pierre Clementi, a French-Italian actor(who worked with Luis Bunuel and Philippe Garrel). In this film, he plays a student who is disaffected and alienated, his life is transformed when he meets his "double"(the film is a loose adaptation of the Dostoyevsky story ''The Double'') who is everything he isn't. Bertolucci doesn't attempt to explain the two Clementis and refuses to spell out that either is a hallucination(the conceit of the film as it develops is the difficulty to tell apart which is which).The film's tone is largely comic for most of the film including a hilarious and shocking send-up of Hollywood romances in the scene where Giaccobe(Clementi) and his beloved Clara(the luminous Stefania Sandrelli) plan to elope. But the tone of the film is also disturbing on other occasions as Clementi's character commits many acts of murder as the film moves along including one of the most upsetting and gruesomely cruel murder scenes in film history. The style of the film doesn't have a clear plot and is essentially a series of digressions. The film's style is intensely subjective and never abandons Giacchobe's point-of-view and some aspects of the film can be seen as dreams or hallucinations and others develop surprisingly including a suggestion of a narrative leap near the end. The music score by Ennio Morricone is avant-guarde enough to meet the challenge. The complete score played over the opening credits features four themes, each distinct and disjunctive, a quartet which during the film rotates in various junctures at various times sometimes diagetically appearing in the action other times working conventionally in the background. It's unlike any other score I have ever heard, beautiful and strange to listen to.The film is one of the most interesting works made at the late 60's and it's location footage of Rome in colour is fairly unique for an Italian film of that period. It is a film that is Bertolucci's most Nouvelle-Vagueish with Godardian monologues on theatre and cinema, digressions on Artaud, attacks on consumerism but it's also one which is fully Bertolucci rather than a work of a dilettante. The visual design is a curious mixture of German Expressionism(F. W. Murnau) and Hollywood 'Scope pageants(Nicholas Ray), while some of the visual and editing tricks seem to come from Hitchcock(red thunder from ''Marnie'') and of all people, Jerry Lewis(''The Nutty Professor'' - from the foregrounding of the soft red and cobalt blue throughout the film right down to the white fadeaway it ends).Bertolucci's exuberant non-realism allows him to directly confront the audience with the preoccupations and contradictions of Giacchobe and his generation all the while conveying the emotional confusion of his characters. It is perhaps dated to an extent since it's firmly addressed to the issues of the late 60's student unrest(May '68 happened when this film was in production) but it's also a film about confusion, about passivity, a psychological exploration of the main character's pathology and his charm and also sets up the themes that Bertolucci touches on ''Il Conformista''. The search for one's identity, the conflict between rebellion and conformism, the blurring lines in sexual and social politics. And it's all done in a manner that is very funny and light. The abrupt ending of the film which raises a lot of questions is one which the viewer can ponder endlessly for themselves. And Pierre Clementi's tour-de-force performance makes this just as much his film as it is Bertolucci's, anyone interested in a great performance by a charismatic if obscure European star that is emotional and simultaneously physical and sensual than this is the place to go.

flickhead It's not easy to rate an experimental film on the same scale as films that were intended to be seen by wider commercial audiences, and "Partner" is an experimental film. Many have criticized Bertolucci for aping Godard's style in this film, and certainly there are liberal elements of "Two Or Three Things I Know About Her" and "Weekend," but the camera work and cinematography and even the Morricone score are all indicative of an Italian filmmaker, more so than the French new wave that served as the defacto inspiration. But if one is forced to point out the films that it followed, one should also illuminate the many films that it inspired, whether directly or indirectly, and that list is at least as impressive. The easy heir is "Fade To Black," which follows a would-be actor on his descent into madness and murder. The over-the-top performance of Pierre Clementi is exchanged (perhaps as a sign of the times) for the understated twitchiness of Dennis Christopher, but the whole story is here. One can chose to credit the original Dostoyevsky story, but the film reference reads truer as an influence on the later film when considering what a lose adaptation "Partner" was of "The Double." In fact, Conrad's "The Secret Sharer" could just as easily have served as the source material when dissected the faithfulness of the Amico script of the Russian author's work (and of course only for the sake of argument, as Dostoyevsky is clearly credited). Less obvious may be the impact that Partner had on Bertolucci's Italian peers. A mere year later, "Love And Anger" would unite the Italian filmeratti with Godard to launch a collaborative New Wave film. It's unlikely this would have happened were it not for the release of "Partner." Likewise, the classroom discussions of "Zabriskie Point" betray more in common with this film than with Antonioni's previous output, and yet it can also be said that certain scene compositions in "Partner" could trace their routes back to Antonioni's "Blow Up." The composition is very similar though the camera movement is not. Even when examining Bertolucci's future output, one can point to Partner as the turning point in his artistic style. Up to that point his work was devoid of the cinema reference that pervades "Partner" (the Odessa steps parody, amongst others) and was toned down in "The Conformist" and "Last Tango In Paris." As an experiment, Partner is more of a success than a failure. It's not simple, casual viewing. It's a hard to digest film from a man who has absorbed and digested more about film than most others. It's comparable to Louis Malle's "Black Moon," but predates it by seven years. "Partner" is an oddity. It's unlikely to have a broad appeal, which is probably a good thing. This isn't going to sway the "Shrek" crowd, that's for sure. To an extent, you either get this film or you don't. The same can be said for dozens of films and filmmakers who are held in high regard by people who hold this film in contempt (it's tonally very close to Jodorowski's "Santa Sangre"). I for one am glad I've seen it. It's not perfect, but it's thought provoking, well made and less self indulgent than a lot of recent art-house fare from culty sacred cows ("Inland Empire," anyone?). Most people will find their way to this film as part of their Bertolucci completism. Some may be Tina Aumont obsessed. I don't think either will be greatly disappointed.

ed-160 Movie making is a form of expression that has in recent years been subject to a mold of narrative. The Partner is a genuine example of a film that does not comform to the standard. As always Bertolucci was able to draw performances that transform t characters he created into tangable moments. Particularly remarkable is Pierre Clementi's performance of a man with two identities. Made at the early age of 22, this film is a window into an artist mind. Open your mind and just allow yourself to enjoy the ride.