La Luna (1979) 1080p YIFY Movie

La Luna (1979) 1080p

La luna is a movie starring Jill Clayburgh, Matthew Barry, and Veronica Lazar. While touring in Italy, a recently-widowed American opera singer has an incestuous relationship with her 15-year-old son to help him overcome his heroin...

IMDB: 6.63 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 2.71G
  • Resolution: / fps
  • Language: English
  • Run Time: 142
  • IMDB Rating: 6.6/10 
  • MPR: Normal
  • Peers/Seeds: 6 / 5

The Synopsis for La Luna (1979) 1080p

Recently widowed American opera diva Caterina takes her teenaged son Joe with her on a long singing tour to Italy. Absorbed in her hectic work in various Verdi operas around Rome, Caterina is soon shocked to discover that her troubled and lonely son has become a heroin addict. Her desperate attempts to wean the youth off the drug result in an incestuous relationship, but also in a possibility to reunite Joe--maybe even herself--with his real father, whose existence she has kept a secret from him.


The Director and Players for La Luna (1979) 1080p

[Director]Bernardo Bertolucci
[Role:]Veronica Lazar
[Role:]Matthew Barry
[Role:]Renato Salvatori
[Role:]Jill Clayburgh


The Reviews for La Luna (1979) 1080p


A "perfect" sophisticated movie if your taste rises above the adolescent level.Reviewed bynegevoli-44Vote: 7/10

One of my favorites -- a "perfect" movie by MY standards: intelligent, a good story, great direction, an attractive and effective cast, and stunning locales and photography. An elegant production -- not one lame or wasted moment. New York-based American diva Jill Clayburgh, a true celebrity, is married to (it could happen!) Fred Gwynne. Her only child, a teenage son (Matthew Barry) accompanies his parents to a plush rental home in Italy, where Clayburgh's opera career has taken her, and where his biological father lives. Though hobnobbing and partying with the rich and famous in Rome, Clayburgh nonetheless is worried about her son because of his "distance" and solitude, -- he doesn't take to his step-father -- his general teenage angst, and his pending reunion with his "real" father. Clayburgh's motherly instincts kick in and she soon learns her loving son has indeed fallen in with the "wrong crowd." Mamma mia! He is on his way to being a junkie and Clayburgh takes rather "extreme" steps to get the boy's mind off heroin and other cheap thrills. Not for the kiddies, but entertaining for grown-ups who like something different and have open minds.

The adult theme is rather tame, relatively speaking, and is handled well and not explicitly, especially compared with the moronic garbage being spewed out in American movies and TV today. Certainly not in the nearly-x-rated category of Bertolucci's "Last Tango in Paris," for example. What I want to know is whatever happened to the hauntingly handsome then-youngster Matthew Barry? He could have had a promising film career, based on his good looks and his performance in Luna. I saw this on Cinemax in the early, good old days (early 1980s) when it aired great movies, especially foreign films. I have tried, but been unable to, buy it, sad to say.)

It is only palatable once the opera sequences come in sightReviewed bym-sendeyVote: 7/10

An opera singer Caterina Silveri (Jill Clayburgh) sets off for Italy, the moment her husband gets killed in a car accident. She is accompanied by her young, handsome son Joe (Matthew Barry) who soon grows in the habit of taking drugs. The mother begins an incestuous relationship with her lonely son so that he could overcome his addiction?

This motion picture from Bernardo Bertolucci is a flabbergastingly inconsistent opus which does not shock anymore and whose composition resembles a mashed frog smeared on one's wall. The film is generally flawed owing to being lamely scripted and having the horrendous dialogues which prejudice the material even more. By re-conceiving the concept from Before the Revolution from 1964, Mr Bertolucci perchance intends to exhibit the putridity of haute bourgeoisie as well as a complicated relationship between the mother and her infant, but he fails to convey anything but cheap gestures, scenes swaying between solemnity and instants of quasi-hysterical exultations reminiscent of a bottom-drawer vaudeville, performers who turn up for no reason whatsoever, a great deal of pointless moments which do not add anything to the already muddled plot. Bertolucci seems to be smug to disclose some bond between opera and cinema, yet, to my way of thinking, the upshot is downright pathetic and deprived of essential ingredients such as likable leading figures. Instead, a viewer is constrained to sit through over two hours with two crass hedonists endeavouring to find happiness in their narcissistic lives. The flick welters in its excesses and it is only palatable once the opera sequences come in sight, unfortunately these are few and far between. The characters in la bête noire by Bertolucci are provided with no depth and constitute just furnishings in this beauteously framed film, shot by the great Vittorio Storaro. The personalities of the main heroes i.e. the opera singer and her son are contrived, unreal, but most of all, there is no chemistry in the realm of their interactions and all the protagonists do is quarrelling and making up. This repetitiveness will prove quite an ordeal for some. Ultimately, we are stranded in this vortex of soap opera seasoned with munificent portions of soap, paltry discourses, ubiquitous aimlessness and directional complacency. Towards the denouement, the opus embarks on being slightly better on account of Tomas Milian's agile performance, but it is too late to revive the already embalmed content.

Jill Clayburgh is not too bad as Caterina Silveri, although her appearance in this movie does not render the things any better. Matthew Barry is the one who feels rather inexperienced in his role and as a consequence, he pronounces his lines virtually phonetically. Tomas Milian is the best member of the cast and his subtle performing infuses some realism into the frenetic work. There are some other dexterous actors e.g. Franco Citti, Alida Valli, Renato Salvatori and Roberto Benigni who almost seems to be perpetuated on the celluloid by accident, his part is very, very insignificant and unnecessary.

The cinematography by Storaro is ravishingly enthralling, as always. Storaro captures the beauty of landscapes like a painter, considerately constructing the image in detail, one element after another. Notwithstanding, if you are exasperated by the dissipated narrative texture, asinine conversations, the insipid, vagabond script and you don't find the film any better than I do, you might be insufficiently attentive to his décor. The soundtrack by Ennio Morricone is not memorable at all, but it certainly unnerves and prompts some sort of foreboding.

I am certain that there are people who appreciate this flick, but, as far as I am concerned, this blague does not appeal to me forasmuch as it implicates unlikable, one-dimensional characters, loads of senseless sequences, needlessly prolonged running time, contrived dialogues and the enragingly pervasive ambivalence. How to express it all in a couple of lines? At one point in the movie, Joe Silveri prepares supper for himself and his mum. Once he tastes the meal he has just cooked, he winces and utters: "God, it's awful, it sucks". This epitomises La luna for me. It genuinely sucks.

Perhaps women understand this bestReviewed bySLR-3Vote: 8/10

I recall that both Roger Ebert and Gene Siskel HATED this film, which they characterized as senseless meanderings in an incomprehensively large Italian villa by two characters about whom we care nothing. I chose to see it anyway, and absolutely loved it. Perhaps only a woman can relate to just how far a mother will go to redirect her son from a deadly path.

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