…this film is (for the lack of a better word) a dream–a dream you would not willingly want to wake up from. Completely and utterly mesmerizing, “The Dreamers” pays homage to film, Paris, the 60’s, and treasure. Apart from some of the awkward moments this movie tends to indicate sporadically, the movie itself was not mired by the abnormalities of some of the main characters. Though, this movie is one of the greatest I’ve ever viewed, it is not for everyone and cannot be readily recommended without reviewing some of the pros and cons I caught.

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CONS:

-First off, if you’re offended, in any scheme, by frontal nudity from either sex… caution: it contains a lot!

-For some, if the ending is a chief factor in deciding that you like a movie, it is possible you could be dissapointed (it ends in an unlikely manner) . But if you can bask in the ending, it doesn’t distress the film at all… Maybe people were disappointed by the ending because they didn’t want it to destroy

-If not accustomed to slower-moving movies, based on a load of record depth or the like opposed to action or thiller movies, then it could be a let down.

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But the cons are heavily outweighed by the pros…

PROS:

-For film buffs, Bertolucci doesn’t dissapoint. The b/w segments intermingled within the storyline are anything short of genius and, for me, was the most glowing and exciting fraction of this movie.

-For anti-censorship viewers, this movie could seem to be sent from heaven, because it doesn’t leave powerful out.

-The acting is on a par with almost perfection, all three main characters are played flawlessly and completely hold on the people they are supposed to evoke… Eva Green is especially improbable.

-The soundtrack is good as well. The tone that the music sets is completely appropriate and only adds to the dreamy atomsphere of the film; totally reminiscent of the 60’s.

-A perfect representation of Paris in the 60’s; eventhough the film’s centerpoint is the main characters and their relationship with one another, the artist’s home of Europe couldn’t be portrayed to be more shapely (with the exception of the student riots in foreground) .

It is difficult to conclude thinking of this movie, even between viewing other movies… if I could i’d give it six stars.

Bertolucci’s revolutionary film takes site in the tumultous summer of 1968 in which a young American, Matthew (Michael Pitt) has near to Paris to stare French. He becames a cinephile and a frequent patron of the Cinemateque Francais, the breeding ground for the Fresh Wave movement. Shortly after the firing of Langlois, he meets fellow cinephiles Isabelle (Eva Green) and Theo (Louis Cassel) and scores an invitation to dinner.

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That’s how it begins, but this movie isn’t linear and it cannot be deciphered merely by the order of events. Quite frankly, I was amazed by Fox Searchlight releasing what may be one of the most revolutionary and sexually progressive films of original years. In the streets, the young and traditional found their revolutionary voices in 1968 and fought to institute governmental changes, but inside this chic apartment another revolution is taking region as well only this one involves fewer persons.

Matthew is clearly enamored of Isabelle and Theo (though this latter relationship isn’t as developed as in “The Holy Innocents”, which I found took away from the storyline) but he is not transfixed by them. He realizes that though they perceive the world, they purposely support themselves outside of it. Theo’s father correctly observes early in the movie that to understand the world and change it, you have to become fragment of it. This is a lesson Matthew is constantly aware of and tries to pass on to his novel friends. The first inkling of how grounded he is in this reality comes with the Zippo scene (my current) in which his casual observation of how a simple lighter fits into every possible plot. Life allows us to fit into many possible spaces as we constantly change and constantly search for the ideal region, but the cosmic lesson in it is that we will fit into them and consequently, will fit ideally into the one we purchase out. We must allow ourselves to inhabit the spaces and become portion of them in order to test the waters all the while and we do this by leaving the comfort of our novel status and become fragment of the overall world.

The sexual relationship between Isabelle and Matthew was passionate, realistic and completely believable. We live in very hypocritical times where nudity has become more taboo than violence and it was a pleasure to peek young people making esteem with all of the intimate gestures that rob station between lovers. It obviously takes a colossal director to pique our cinematic memories and remind us that it takes two nude bodies to originate like. The nude scenes between the brother and sister were a bit troublesome to the audience I saw this movie with, but the incestual nature of their relationship in the book has been erased. To me, they unprejudiced seemed dangerously, asphixiatingly crawl to each other, the nudity being unprejudiced share of said obsession.

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All three actors do a handsome job, but it takes a bold director to demolish a film with a police action about to bewitch set to the sounds of Edith Piaf’s “Je Ne Regrette Rien”. Bertolucci understands his young protagonists and knows the many errors they will continue to commit before they select and resolve what is fair and what is unfavorable because he has been there himself. And he regrets nothing. We should all be so lucky.
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