There are several scenes with full frontal and rear nudity of both sexes.
An 11 year old boy undresses fully to get out of wet clothes and pulls back his foreskin some. He and his friend compare penises, one of whom is clearly shown, and erect. The other boy’s penis is partially obscured by clothing and shadow. They talk about masturbation, and one boy does for a brief moment.


An old man puts a young milkmaid’s hand inside his pants. Her reaction is, “No one can milk a bull.”
A woman is paid to make love to two men at once. She masturbates both at the same time then puts one man’s hand on the other’s crotch–all in full-view of the camera.
A man uses the butt of a shotgun as a masturbatory aid on a woman; the woman enjoys this.


A man throws woman on haystack and he kisses her. She screams as he enters her, being a virgin. He is shown on top of the now nude woman spreading her legs. He is seen thrusting and both moaning and panting at orgasm. Nudity includes his buttocks and back.
A man takes photographs of naked men–shown at a distance.


A woman dances in a see-through negligee with no underwear.
A boy’s rear is shown as he pulls up his pants, presumably after being sexually abused.
A woman looks up a dead woman’s dress and announces that the corpse has no underwear.
A man massages a horse’s sphincter with his fingers to get it to produce more manure (which is then thrown at another man).
A woman rips her blouse and shows her breasts.


Film review:Translated by www.rabudo-ru.com


Robert De Niro and Gera de padillo have nothing to do with Bi Liao. However, in Bertolucci’s 1900, the two masters are young and have a big nose. They are not only charming, but also handsome.

Bertolucci’s Italian communist consciousness is most vividly expressed in this film. Birth theory and class theory seem to block two partners in the same year, but too many life experiences and too few fantasies are like yeast, urging the friendship of precipitation years.

In 1900, on the day when the musician Verdi died, Alfred, the grandson of a manor owner, and Olmo, the grandson of a farmhand, were born one after the other. Then their lives were in competition all the time: catching frogs, lying on the tracks, chasing chicks, Even every boy cares about “having a long thing”… The young master expects himself to keep up with the little rogue without trace, and the little rogue seizes every opportunity to laugh at the young master’s ferocity and cowardice. However, it did not prevent them from hiding from the small circle of people of their own class and watching the stars together. After the fight, they hurried to clean up the mess. It’s no wonder that after World War I, young officers and farm labourers hugged each other and even humbly enjoyed the girl who sold their bodies. It’s no wonder they fell in love with the same woman.

The beautiful woman of French descent is trendy and fragile. She is like a muse who swam from the left bank of the Seine River to Italy. She is the wife of the young master, the housewife of the manor and the nameless pain of the bourgeoisie, but She Stoops to the table of the farm worker and is always hooked on the shoulders and backs of the proletariat. She can never follow Olmo to endure hardship, nor can she tolerate Alfred’s cowardice. She steps at her own pace, like a flag bearer singing Marseille, bright but not substantive, floating across the turbulence and out of the vision of two men.

Alfred was actually a traitor to his class. He learned to treat farm labourers gently like his grandfather. He despised taking an oath of allegiance to Italian fascists. He even gave Olmo his family pistol. He said that Olmo was his only friend. He knows what a friend is, someone who can make fun of each other, fight each other and hurt each other, but can’t live without him all his life.

Olmo complained to the housewife. What did he complain about? Master Alfred came to his dwelling less and less. What he forgot was that he had always resisted death and refused to admit that “wolves will be kind to sheep”. What he could not forget was that Alfred’s eyes looked like 0 degrees Celsius water when he was framed as a murderer and beaten up by the black shirt party.

At the end of World War II, the rich and leisure classes were being destroyed and finally criticized the landlords. Olmo, the proletarian, was the leader of the farm workers. He took the lead in severely exposing Alfred. But when a poor boy, as brave as Olmo used to be, tried to shoot his master Alfred, Olmo was more flustered than anyone else. Alfred, the “landlord”, was dead. Olmo asked that Alfred, as a “man”, be left behind. But Alfred was ungrateful. In the field, two white haired masters bluntly took crutches to fight, just as they rolled in the haystack.

Another big shot, Grandpa Donald Sutherland, with wolf eyes, was the new foreman of the manor. He was a typical rogue proletarian. He hooked up with the young master’s cousin, firmly stood in the position of safeguarding the reactionary class, and acted as a fascist thug and a small leader of the black shirt party. But his most important role is to show the young master’s feelings for the farm workers in twists and turns: Alfred scolded him, but never scolded Olmo; Alfred belittled him to protect Olmo’s self-esteem; Alfred fired him because he privately sold Olmo like an animal

Bertolucci used a family chronicle to reproduce the turmoil in Italy for half a century in great detail; In fact, what he wants to show most is the theme of “individual is the hostage of history”: how to cultivate, how to eliminate and how to engrave into the bone marrow.

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