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…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 worship. Apart from some of the awkward moments this movie tends to reveal 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 contrivance, 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 luxuriate in the ending, it doesn’t afflict the film at all… Maybe people were disappointed by the ending because they didn’t want it to waste 
-If not accustomed to slower-moving movies, based on a load of anecdote 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 dazzling and inviting fraction of this movie.
-For anti-censorship viewers, this movie could seem to be sent from heaven, because it doesn’t leave considerable out.
-The acting is on a par with almost perfection, all three main characters are played flawlessly and completely select on the people they are supposed to evoke… Eva Green is especially fantastic.
-The soundtrack is helpful 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 beautiful (with the exception of the student riots in foreground) .
It is difficult to finish thinking of this movie, even between viewing other movies… if I could i’d give it six stars.
Bertolucci’s revolutionary film takes position in the tumultous summer of 1968 in which a young American, Matthew (Michael Pitt) has reach to Paris to peruse French. He becames a cinephile and a frequent patron of the Cinemateque Francais, the breeding ground for the Unusual 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 unusual years. In the streets, the young and broken-down found their revolutionary voices in 1968 and fought to institute governmental changes, but inside this chic apartment another revolution is taking station 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 explore 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 allotment of it. This is a lesson Matthew is constantly aware of and tries to pass on to his fresh friends. The first inkling of how grounded he is in this reality comes with the Zippo scene (my approved) in which his casual observation of how a simple lighter fits into every possible region. Life allows us to fit into many possible spaces as we constantly change and constantly search for the ideal plot, but the cosmic lesson in it is that we will fit into them and consequently, will fit ideally into the one we remove out. We must allow ourselves to inhabit the spaces and become piece of them in order to test the waters all the while and we do this by leaving the comfort of our novel area and become portion 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 contemplate young people making appreciate with all of the intimate gestures that remove dwelling between lovers. It obviously takes a broad director to pique our cinematic memories and remind us that it takes two nude bodies to compose worship. 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 objective seemed dangerously, asphixiatingly lag to each other, the nudity being unbiased fragment of said obsession.
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All three actors do a exquisite job, but it takes a valiant director to ruin a film with a police action about to prefer spot 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 decide what is correct and what is base because he has been there himself. And he regrets nothing. We should all be so lucky.
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