Before the Revolution

Before the Revolution (Italian: Prima della rivoluzione) is a 1964 film directed by Bernardo Bertolucci, which captures the mood of the pre-1968 revolutionary zeal among European youth, and examines the disillusionment of the Italian middle class. The film, which was Bertolucci's second feature, stars Adriana Asti, Francesco Barilli, and Allen Midgette. It is a profound reflection on the ideological conflicts and existential angst of its era, seen through the eyes of its young protagonist.

The movie is set in Parma, Italy, where we meet Fabrizio, played by Francesco Barilli, a young idealistic man from an upper-middle-class family. He is in a period of turmoil and introspection as he grapples with the political idealism that characterizes the time before Italy’s countercultural revolution. Fabrizio embodies the contradictions and internal conflicts of a generation that is caught between Marxist revolutionary ideology and the comfort of their bourgeoisie lifestyles.

Adriana Asti portrays Gina, a charming and enigmatic young woman who is Fabrizio's aunt by affinity. Gina's character is laden with complexity; her relationship with Fabrizio is fraught with moral ambiguity, which adds to the film's exploration of taboo subjects and the psychological depth of its characters. Their controversial and intense relationship becomes the film's focal point; through it, Bertolucci delves into themes such as love, desire, and the search for personal identity.

Allen Midgette takes on the role of Agostino, a character whose presence and views have a profound impact on Fabrizio. Agostino represents the intellectual friend who challenges Fabrizio’s viewpoints, causing him to question both the status quo and his own beliefs. Their conversations are illustrative of the political and philosophical debates that were central in the countercultural moments leading to the large social upheavals of the late 1960s.

Before the Revolution is a film steeped in the mood and fervor of its time but also reveals timeless concerns of young adulthood. It is reflective of Bertolucci’s early cinematic style, which features a fusion of neorealist aesthetics with French New Wave influences. He employs a mixture of styles, including improvisation, sudden breaks in the narrative, and jarring editing techniques that contribute to the film's existential and sometimes dreamlike atmosphere.

The film’s title is a reference to Talleyrand's famous remark that anyone who did not live in the pre-revolutionary era did not know the sweetness of living, thereby invoking the sense of nostalgia and loss as well as the excitement and danger of a historical turning point. It essentially serves as an examination of a specific moment in Italian history, when the tides of change were palpable, yet the old social structures were still firmly in place.

As much as Before the Revolution is a political statement, it is also a personal one, revealing Bertolucci's own disillusionment with Marxism—despite his previous enthusiastic embrace of Marxist ideologies—and his reflections on the direction in which the country's revolutionary fervor was headed. The film delves into issues of class, tradition, cultural identity, and the influence of Western and Eastern philosophies on the youth of Italy.

Throughout the movie, Bertolucci uses Fabrizio’s existential crisis to probe at the deeper discontents of the Italian middle class and their struggle to reconcile their revolutionary aspirations with their ingrained societal roles. His narrative is punctuated by moments of lyrical beauty and unstructured wandering, frequently blurring the lines between reality and dream, between the personal and the political.

Fabrizio's relationships with the other characters, including Gina and Agostino, reveal a web of connections that emphasize the intimate and political conflicts occurring simultaneously. Such multifaceted relationships showcase the personal cost of ideological adherence, and the sacrifices made by individuals in pursuit of societal change.

Musically, the film is underscored by the compositions of Ennio Morricone, whose work tightly weaves into the tapestry of the protagonist’s intricate world, mirroring the ebb and flow of his passions and doubts.

Cinematographer Aldo Scavarda collaborates closely with Bertolucci to create a visually stunning film, heightening the emotional resonance of the narrative through the use of striking visuals and careful framing. The camera work often invites the audience to observe the characters in moments of vulnerability and introspection.

Before the Revolution did not initially enjoy commercial success, but it has since been recognized as a significant work in Bertolucci’s oeuvre, and a poignant encapsulation of the spirit of an era on the cusp of transformation. It offers a richly textured narrative and a perceptive sociopolitical commentary that continues to resonate with audiences today. It remains a landmark film that encapsulates the feelings of a generation standing at the precipice of profound change.