The film charts the rise and divergent courses of communism and fascism, as embodied by Olmo (Gerard Depardieu) and Alfredo (Robert DeNiro).
And although 1900 is filled with the Maestro’s visual panache, and he fills the accepted mandate of an epic, it misses the small things, the basic character things that make an epic transcend its historical roots.
Then we hear from master DP Vittorio Storaro who says the film was shot to include all four seasons of the year, with its symbolic value the main reasoning.
The "1900" of the title isn't a year, but a man, abandoned as a newborn on an ocean liner, raised by the crew, and named after the year he was born.
The other main character in the film is 1900's friend, a trumpet player who enters the picture in the mid twenties, and narrates the film in flashback through a framing device set around 1950.
She said, "this film looks and sounds beautiful, but what is the point?" I guess the point is that beauty is truth, or at least it can be your truth in certain circumstances, if you allow it to be.
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