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Partner/Il Sosia (1968)
The movie provided by Lajiao and the Chinese subtitle provided by a volunteer
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Partner/Il Sosia (1968)
Partner/Il Sosia (1968)
Movie 01, 02, 03, 04, 05
Music 01, 02, 03
It is shown the movie "Partner/Il Sosia" composed by Ennio Morricone (00:01:21)
It is shown in the movie "Partner/Il Sosia" composed by Ennio Morricone (00:01:21)

Director:Bernardo Bertolucci
Writers:Bernardo Bertolucci (story) &
Gianni Amico (story)

Release Date:25 October 1968 (Italy)

Also Known As (AKA)
Partner Brazil / USA
Il sosia Italy
Company:Ministero del Turismo e dello Spettacolo

Produced by Giovanni Bertolucci .... producer

Original Music by Ennio Morricone

Bernardo Bertolucci 贝尔纳多·贝尔托卢奇
Cast (Cast overview, first billed only)

Pierre Clémenti ... Giacobbe I and II
Tina Aumont ... Salesgirl
Sergio Tofano ... Professor Petrushka
Giulio Cesare Castello ... Professor Mozzoni
Romano Costa ... Clara's father
Antonio Maestri ... Tre Zampe
Mario Venturini ... Professor
Alessandro Cane ... Student
Gianpaolo Capovilla ... Student (as Gian Paolo Capovilla)
Ninetto Davoli ... Student
Vittorio Fanfoni ... Student
Luigi Antonio Guerra ... Student (as Luigi Guerra)
Giuseppe Mangano ... Student
Giancarlo Nanni ... Student
Stefano Oppedisano ... Student
Bernardo Bertolucci was obviously influenced by the films of Jean-Luc Godard and the worldwide political upheavals of 1968 while assembling his feature-film Partner. This unorthodox adaptation of Dostoevsky's The Double studiously avoids traditional linear storytelling and exposition techniques. Pierre Clementi stars as a repressed young student who concocts a radical alter ego for himself. As the student's two faces argue polemics, Bertolucci uses the opportunity to take freewheeling critical potshots at all forms of political ideology. Not all of Partner makes sense, but the film will command the viewer's interest from beginning to end. ~ Hal Erickson, All Movie Guide (here)
Plot: Jacob's lonely existence is shattered by the appearance of his exact double at the moment he contemplates suicide. While his doppelganger urges Jacob towards a greater commitment to protest against the Vietnam War, the young teacher falls in love...
Overview: Inspired by Karl Marx, Sigmund Freud and Jean-Luc Godard (and beating FIGHT CLUB to the punch by 30 years), Academy Award?winner Bernardo Bertolucci's third feature is the schizophrenic parable of Jacob, a would-be revolutionary (Pierre Cl閙enti) whose lonely existence is shattered by the appearance of his exact double at the moment he contemplates suicide. While his doppelganger urges Jacob towards a greater commitment to protest against the Vietnam War, the young teacher falls in love with the daughter (Stefania Sandrelli) of his academic predecessor, forging a romance that defies the revolutionary ideals of his alter-ego.
Bernardo Bertolucci was heavily influenced by psychoanalysis when he adapted Fyodor Dostoyevsky's 1846 story THE DOUBLE as a reaction to the political unrest of 1968. Scripted with Gianni Amico (BEFORE THE REVOLUTION), PARTNER reflects Bertolucci's struggle to reconcile the use of cinema as a political tool with the gloss and spectacle of Hollywood filmmaking. Alternating uninterrupted Dogme-style takes with canted angles, process shots paintings and the bracing Techniscope photography of Ugo Piccone, PARTNER was Bertolucci's last art house film before his crossover successes with THE CONFORMIST and LAST TANGO IN PARIS established him an A-list international filmmaker.

Released by New Yorker Films in 1974 but largely ignored in the wake of Bertolucci's subsequent achievements, PARTNER is a neglected title in the director's long and distinguished career. (here)

Summary: Partner: "Tells the tale of Jacob (Pierre Clementi), a revolutionary who also happens to suffer from schizophrenia. He spends much of his time plotting a social upheaval that will single-handedly change the state of post-war Italy. Jacob devises this plan with a mysterious man whom he shares an apartment with, although they argue quite a bit in-between philosophical and political discussions. Jacob shakes things up when he falls for the daughter (Stefania Sandrelli) of someone from the university. This new love instantly puts his political scheming at risk and doesn't make his 'partner' happy either" (viewed May 23, 2006).
Sua giornata di gloria: "Most of this film consists of a dialogue between the members of an idealistic group of Marxist rebels who plan to wage war against the Establishment. Ironically, the determined rebels seem to have no clue why they are fighting against the unnamed European country. The viewer is left to assume they are fighting for a worthy cause, though the fact is, the rebels may only be rebelling because it is fashionable to be against the existing power structures"Dan Pavlides, All Movie Guide.(here)

002-Bernardo Bertolucci and Partner/Il Sosia
Bernardo Bertolucci and Partner/Il Sosia
Bernardo Bertolucci and Partner/Il Sosia
Bernardo Bertolucci and Partner/Il Sosia
Reviewed by Glenn Erickson:

If showing an anti- Vietnam poster being plastered on a tree could make a film into a counterculture hit, Bernardo Bertolucci's Partner would be a masterpiece. This interminable exercise in abstract theatrics and irrational characters is probably a rarity for good reason; it plays as if it had been deconstructed into its constituent parts: Shouting fanatics, doppelg?nger hijinks and revolutionary rhetoric. Pierre Clémenti's crazed acting teacher spends most of the movie spouting non-sequitur lines at the camera, which roams the streets of Rome but never really grasps the nature of the revolution it wishes to celebrate.

The No Shame DVD label proves its fidelity to the entire spectrum of Italian cinema by presenting Partner (often spelled without explanation with a period at the end) in a handsome two-disc package with a second feature film by Bertolucci disciple Edoardo Bruno.

Acting teacher Giaccobe (Pierre Clémenti) gets tired of talking to himself and invents a personal double, Giaccobe 2. The two of them have bizarre discussions while Giaccobe brings the madness of life into his classes. His private life is even more insane ... he murders a piano student (John Ohettoplace) and crashes a fellow professor's party to see his imagined sweetheart Clara (Stefania Sandrelli). Giaccobe's behavior becomes more politically charged and absurdist as he romps in soapsuds to a rock song. He eventually loses control of his students when he takes them out in the Rome sun to rehearse / perform.

Behaving like a spy, nervous Giaccobe stakes out a building from a café across the street and then sneaks over to shoot a student pianist in the head. Giaccobe's motions and gestures throughout the film often have a tentative or jerky quality, as if the 'double' were inside him and interfering with his actions. When Giaccobe 2 finally appears, the pair of neurotics argues and we really can't tell one from another. If there is an explanation to Giaccobe's Jekyll-Hyde conflict, it's too intellectual for direct filmic expression.

Partner puts forward the notion that Giaccobe's acting students may represent the revolutionary hope of the future. We see men in megaphones announcing pompously anarchistic slogans, reportedly brought back from Paris by Pierre Clémenti after weekend breaks spent on the barricades. That the acting students eventually abandon Giaccobe is a good sign for the revolution, as the man's actions don't correlate to anything political.

Giaccobe's mania is covered in two or three reasonably realistic scenes, as when he gatecrashes a party to declare his love for the aloof Clara and is violently ejected. But most of the stand-alone skits bear traces of desperate improvisation. To elope with Clara, Giaccobe has his oddball landlord Petrushka (Sergio Tofani) steal a car. When she shows up at the rendezvous, they simply sit in the back seat while Giaccobe insults her. Petrushka makes engine noises, pretending the car is going somewhere.

That level of imagination doesn't really improve. Giaccobe and a cooperative girl romp in soapsuds from a new clothes washer while Ennio Morricone's pop-rock jingle plays on the soundtrack. She ends up dead. Before they desert him, Giaccobe takes his students to ancient ruins (The Forum?), which are filmed with less inventiveness than the average travelogue.

The movie uses split screens to put the two Giaccobes in the same frame, and cannot resist deconstructing its own modest special effect. The actors on both sides of the screen cross the matte line and disappear. It's fairly depressing to read critical essays that declare the moment a symbolic stage in the development of the Giaccobe character. Partner appears to have been inspired by the student rebellion and undertaken as a sort of artistic statement of support. Bertolucci might have done better by taking his cameras to the streets of Paris

. --------------------------------------------------------------------------------

No Shame's DVD of Partner sports a fine enhanced transfer of Ugo Piccone's Techniscope, color cinematography. The first disc has two lengthy interview segments with the editor and director -- NoShame's featurettes tend to be overlong. Editor Roberto Perpignani regales the camera with an flow of difficult-to-follow comments about the historic year 1968 and his time spent working with Bernado Bertolucci.

The charming and intelligent Bertolucci talks about the film's use of direct sound, instead of being post-dubbed like the vast majority of Italian features of the time. But he never really explains the exact context in which the film was shot. Italian cinema in 1968 was a politically charged place where directors and artists were expected to openly declare their positions and decide whether or not to be 'committed' to social change. Many popular films, especially westerns, expressed pro-radical sentiments and highly respected actors like Gian Maria Volonte declared that they would only appear in 'committed' productions.

Disc one finishes with some Pierre Clémenti screen tests, a few outtakes and a small poster and still gallery.

Disc two contains the film La sua giornata di gloria which translates as His Day of Glory. Director Eduardo Bruno made this one picture and then became a respected film critic. It's a fantasy gabfest about brooding communist revolutionaries in a supposedly future Rome where policemen execute weapon-carrying radicals on the street. Perhaps two minutes of staged action are followed by an hour of people sitting and talking, or rehearsing a scene from Mother Courage. Discussions of Marxist aims and practical revolution finally come to an end as the group prepares for an armed showdown. Our troubled hero and his obligatory sensuous girlfriend are delayed by a rainstorm and hug one another while the battle is heard via an off-camera audio barrage. Phillipe Leroy has a small role, and Pierre Clémenti appears in a couple of shots at the beginning, along with a re-purposed clip from Partner.

The source on this feature appears to be a surviving print of variable picture quality with good audio. In an interview extra, Signor Bruno talks for 35 minutes about the making of his film. More screen tests and stills round out this second disc.

No Shame's cover and insert booklet hype the film rather unrealistically -- I frankly don't think there's anything remotely Dogme about Partner. Booklet essays give a shallow view of the Italian New Wave and laud Partner's tired gags as inspired. At one point Giaccobe dances with a giant shadow on a wall that turns into another independent 'double.' I doubt if that ancient gimmick was in the Dostoyevsky story claimed as the film's source. Edoardo Bruno writes about His Day of Glory in the same nostalgic, non-analytic terms consistent with the other extras... yes, we understand how the filmmakers must have felt about the experience of making movies in a revolutionary climate, but what did it all amount to, and what did they learn? (here)

NoShame Films // 1968 // 112 Minutes // Not Rated Reviewed by Judge Dan Mancini // December 16th, 2005
The Charge
"It still has to be established whether it's me who looks like you, or vice versa." -- Giacobbe to Giacobbe

Opening Statement
Bernardo Bertolucci's third feature, 1968's Partner, is an odd duck. It's as though in taking one step forward as an artist, he had to take two steps back.

Bertolucci inherited the directorial reigns of his debut feature La Commare Secca (1962) from his mentor Pier Poalo Pasolini when the ideas that would blossom into Mamma Roma caused Pasolini to lose interest in the project. The young Bertolucci was supposed to deliver a film in the style of Pasolini. That La Commare Secca has a visual style entirely unlike Pasolini's was the first sign that Bertolucci would be a unique and powerful voice in world cinema.

The young director more fully asserted his burgeoning powers in his second feature, 1964's Before the Revolution. The picture was clearly influenced by the French New Wave, but was sufficiently Bertolucci-esque to grab the attention of cineastés around the world.

In Partner, Bertolucci regresses into an almost pure imitation of Jean-Luc Godard. The movie is rife with the ironic emotional detachment, anti-narrative sensibilities, and self-reflexive examination of the conventions of cinema that characterize Godard's work. Bertolucci's na?veté shines through the Godardian veneer, however, in the lead character's earnest assertions of the theater's potential as a tool for political revolution. A Godard film actually made by Godard would be far more cynical about the power of theater or cinema to change anything. Partner, then, is less a Bertolucci film than Godard-lite. A fascinating peek at a young director stumbling toward greatness, it isn't particularly satisfying in and of itself.

Facts of the Case
Giacobbe (Pierre Clémenti, The Leopard) is a half-mad young drama teacher with a habit of talking to himself. He lives in a small apartment, stacked with books he's bought and stolen. Petrushka, his masochist landlord, pretends to be his servant. Giacobbe is in love with Clara (Stefania Sandrelli, Divorce Italian Style), the bourgeois daughter of his mentor. When the old professor publicly rejects him, he contemplates suicide but is saved by the appearance of his doppelg?nger, Giacobbe.

This second, anarchic Giacobbe makes violent love to Clara and prods his tame double towards a revolutionary stance against the Vietnam War. The first Giacobbe, convinced theater is the only path to truth, incites his students to revolution with avant-garde performances that include the construction of Molotov cocktails.

Mayhem and even a little murder follow as the Giacobbes' psyche or psyches -- like the film's narrative -- unravel.

The Evidence
From the vantage point of the early 21st century, Partner might only be a curious cul-de-sac in the career of Bernardo Bertolucci if not for its fascinating intersection with 2003's The Dreamers. The events of the two films occur at the same moment in history: that tumultuous European spring of 1968 when French students rioted over the politically-motivated caning of Henri Langlois from the Cinémathèque Fran?ais, and students throughout Italy began protests that would radically alter the political landscape in Bertolucci's home country over the next decade. With their common setting, abundant homage to the French New Wave, and shared theme of duality (aren't The Dreamers' Isabelle and Theo, on some level, dual aspects of a single psyche?), one has to wonder if Bertolucci didn't design the 2003 film as an examination and update of Partner. Moreover, since Bertolucci was actually making Partner during that politically topsy-turvy year in which both it and The Dreamers are set, it's as if the two films, when viewed in tandem, offer up a third set of twins: the Bertoluccis, young and old.

In Partner, Bertolucci plays a kind of theme-and-variation with Fyodor Dostoevsky's novella, The Double, upon which the film is loosely based. Where Dostoevsky used the unruly doppelg?nger of his hero, Golyadkin, to express disdain for the egocentrism of modern man, Bertolucci's double is a force for positive change. The second Giacobbe's anarchic rage is the spirit of the countercultural revolution, a spirit that seeks to destroy the existing social order. Even his frightening and inexplicable violence seems to be viewed by Bertolucci as the necessary means to a politically noble end. Near the end of the film, the original Giacobbe (to the extent that there's a distinction between the two at that point in the story) urges us all to unleash the feral twins of our outer, socially-compliant natures. It is the only hope of creating real political and social change. The cloistered, incestuous existence of the three protagonists in The Dreamers, their separation from the angry protests on the streets outside (though they identify politically with the protestors) might be read as an admission by the older Bertolucci that the call-to-arms from his younger, more idealistic self fell on too many deaf ears to produce lasting change.

While Partner's ample Godardian flourishes are derivative, they're also fun if you're game. It would be entirely disappointing to see a director as talented as Bertolucci imitate another filmmaker if not for the fact that his imitation is so spot-on. In keeping with the French convention and in defiance of Italian norms, Bertolucci shot with live sound. He counters the naturalism of the sound by abruptly dropping out the entire soundtrack at points, leaving us in silence -- an old trick of Godard's meant to remind viewers they're watching a movie. Aggressive scene transitions undermine narrative coherence, and also prevent one from connecting with the characters emotionally. Despite all this, the young Bertolucci betrays his lack of absolute dedication to anti-narrative, anti-cinematic conceits by offering a comically engaging sequence early on in which Giacobbe boxes his own outsized shadow, and a plethora of expertly executed in-camera effects that allow Pierre Clémenti to appear onscreen with himself throughout the picture.

NoShame presents Partner in an anamorphic widescreen transfer framed at the film's original 2.35:1 aspect ratio. The image is clean and sharp, but marred a bit by an abundance of edge-enhancement halos. Colors are accurate and fully saturated. Black levels are solid without being overblown. Despite the minor flaws, it's a fine-looking transfer overall.

Audio is a mostly hiss-free two-channel presentation of the original Italian mono track. Optional English subtitles are available.

Supplements on Disc One of this two-disc Special Edition include two video interviews: Dreams from the Other Side and To Edit a Partner. The first is a 1968 look behind the scenes as Bertolucci filmed Partner. The director (looking like Godard's little brother behind a pair of sunglasses) talks about the cinematic concepts and political ideology behind the film, as well as addressing technical issues such as his choice to use live sound. The black-and-white 1.33:1 image is offered window-boxed inside a 1.85:1 anamorphic widescreen frame. Dreams from the Other Side runs 38 minutes. To Edit a Partner is a retrospective interview with Partner's editor Roberto Perpignani, produced by NoShame for this DVD release. Perpignani discusses the radical editorial style of the film, and how it meshes with Bertolucci's political and philosophical message. The interview runs 18 minutes.

In addition to the two interviews, the first disc contains Lost & Found, a nine-minute reel consisting of Pierre Clémenti's screen test, and some outtakes. A gallery of poster art and production stills runs as a 40-second featurette.

Instead of Partner-related supplemental material, Disc Two houses a second feature, critic Edoardo Bruno's single attempt at filmmaking, His Day of Glory. The film is loosely related to Partner in that Bertolucci was impressed enough with it to allow Bruno to front his movie with a few minutes of Giaccobe's revolutionary rantings. The footage from Partner fits well into His Day of Glory, which basically gives us a fly-on-the-wall perspective as three young revolutionaries discuss Marxism and the necessity of and moral justifications for the use of violence in overturning entrenched political systems. It's pretty dry stuff, shot with little flair (there were reasons, it seems, that Bruno ended up a critic rather than a director).

The picture is offered in a rough transfer, framed at its original 1.33:1 ratio. The unrestored image of this long-forgotten piece of political polemic is speckled with source damage. The audio track is similarly laced with hisses and pops. There's nothing much to complain about in terms of transfer-related flaws, though. NoShame did a great job with a weak source. There's not a lot of justification for sinking time and money into the restoration of a film as obscure and, to be blunt, void of artistic and technical quality as His Day of Glory.

The supplementary feature is accompanied by a 35-minute interview with Bruno, produced by NoShame for this DVD release. There is also a reel similar to the Lost & Found segment on Disc One that contains screen tests for Lou Castel and Laura Troschel, and footage of the actors rehearsing their parts.

The insert booklet contains two essays by Richard T. Jameson, former editor of Movietone News and Film Comment. The first discusses Italian cinema in the 1960s, and Bertolucci's role in the break from the Neorealism that characterized the nation's films of the '40s and '50s. The second provides some insightful analysis of Partner. Film critic Sean Axmaker also contributes an essay about Bertolucci, and there's a selected filmography. Finally, "It Was the End of the World as We Knew It, and We Felt Fine" is a brief essay by Edoardo Bruno in which he discusses His Day of Glory and its rescue from obscurity by NoShame.

Closing Statement
Partner isn't a bad film per se, but it's a bad Bertolucci film. He can and has done so much better. This disc won't hold much appeal for anyone other than Bertolucci completists and budding Marxists revolutionaries, though the latter group would probably find listening to a little Rage Against the Machine a better use of their time.(here)

2 or 3 Things Bertolucci Knows About Godard

Bernardo Bertolucci's third feature, Partner, released just months after the legendary events of May 68, finds the Italian director at his most abstract and least narrative point of his career. The Pasolini influence that informed La Commare Secca and (to a lesser extent) Before the Revolution has here been replaced by post-Masculine, Feminine Godard.

Owing more than a slight debt to 2 or 3 Things I Know About Her, Partner touches on all the hot-button topics of the day, particularly in Euro art-cinema: politics (personal, social, sexual, ideological), Vietnam, psychology, philosophy, theater, cinema, and the nature of the self. A very loose adaptation of Dostoyevsky's The Double, Partner's non-narrative structure is primarily a showcase for its star Pierre Clémenti, who plays dual roles as a theater prof and his revolutionary doppelganger/antipode, both named Giacobbe. We're never quite sure which one is the genuine item, and the film plays out like a more cerebral, less humorous Fight Club.

Watching Partner makes one appreciate Godard that much more, for though it's easy to spot the references (Le Mepris' Cinemascope and lush score, Weekend's tracking shots, 2 or 3 Things' psychology/ideology), Bertolucci lacks both the puckishness and gravitas of his French counterpart. The ideas presented throughout Partner never reach convergence, and what we're left with are a series of vignettes -- some which work, while others don't. It's kind of like a variety show for the smart set.

However, there's still much to admire about the film. The Cinemascope is gorgeous, and the Hermann-esque score by Ennio Morricone amusingly alludes to tension and a sense of foreboding that never arives. There's a quasi-comical recreation of the Odessa Steps sequence from Battleship Potemkin, and a wonderful car scene with Clémenti and Stefania Sandrelli, in which a third character is providing the engine sounds for the stationary vehicle. And then of course there's the single best line in the film, which comes during a polemic about cinema -- "Distributors have no soul." I'm on the fence about Clémenti's performance, which though certainly fearless and reminiscent of his work with Garrel, Pasolini or Cavani, veers dangerously close at times to amateur theatrics. It's fascinating to watch, but feels as if Bertolucci didn't provide enough guidance.

Bertolucci never again ventured into such experimental waters, which is a good thing, as he happens to excel at narrative, yet never at the cost of art, ideas, ideals, politics, etc. Partner makes for an interesting companion to The Dreamers, if just to see the director's two extremely different takes on the events of 1968. But on it's own, Partner doesn't come close to the brilliance of The Conformist, 1900, or even Last Tango in Paris.

However, that said, there is a sequence in the film that is not only one of Bertolucci's greatest, but quite possibly one of the best from the cinema of the 1960s as a whole, and I've shared it below. It's a spoof of crass commercialism, specifically in the marketing of laundry detergent. Clémenti and the gorgeous Tina Aumont are a loving couple driven (at first) to sexual ecstasy by their suds, all set to a bit of chamber-pop perfection by Morricone (Splash!), with vocals by Peter Boom. The change of mood and tone within three minutes is both fascinating and more than a little bit disturbing. Borderline NSFW, perhaps. Check it out. (The silence in the first ten seconds is as it is in the film.)(here)

Fyodor Mikhailovich Dostoevsky and his novel "The double"
Fyodor Mikhaylovich Dostoyevsky (Russian: Фёдор Михайлович Достое?вский, Fёdor Mihajlovi? Dostoevskij, pronounced [?f?od?r m???xajl?v??t? d?st??j?fsk??j] ( listen),[4] sometimes transliterated Dostoevsky, Dostoievsky, Dostojevskij, Dostoevski, Dostojevski or Dostoevskij (November 11, [O.S. October 30] 1821 – February 9, [O.S. January 28] 1881) was a Russian writer and essayist, known for his novels Crime and Punishment and The Brothers Karamazov.

Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th-century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written."[5] A prominent figure in world literature, Dostoyevsky is often acknowledged by critics as one of the greatest psychologists in world literature.

Fyodor Mikhailovich Dostoevsky and his novel "The double"
Family origins

Mariinsky Hospital in Moscow, Dostoyevsky's birthplace.Dostoyevsky's mother was Russian. His paternal ancestors were from a village called Dostoyev in Belarus, in the guberniya (province) of Minsk, not far from Pinsk; the stress on the family name was originally on the second syllable, matching that of the town (Dostóev), but in the nineteenth century was shifted to the third syllable.[7] According to one account, Dostoyevsky's paternal ancestors were Polonized nobles (szlachta) of Ruthenian origin and went to war bearing Polish Radwan Coat of Arms. Dostoyevsky (Polish "Dostojewski") Radwan armorial bearings were drawn for the Dostoyevsky Museum in Moscow.[8]

Early life
Dostoyevsky was the second of six children born to Mikhail and Maria Dostoyevsky.[9] Dostoyevsky's father Mikhail was a retired military surgeon and a violent alcoholic, who had practiced at the Mariinsky Hospital for the Poor in Moscow. The hospital was located in one of the city's worst areas; local landmarks included a cemetery for criminals, a lunatic asylum, and an orphanage for abandoned infants. This urban landscape made a lasting impression on the young Dostoyevsky, whose interest in and compassion for the poor, oppressed and tormented was apparent. Though his parents forbade it, Dostoyevsky liked to wander out to the hospital garden, where the suffering patients sat to catch a glimpse of sun. The young Dostoyevsky loved to spend time with these patients and hear their stories.......

(1846) Bednye lyudi (Бедные люди); English translation: Poor Folk
(1846) Dvojnik (Двойник. Петербургская поэма); English translation: The Double: A Petersburg Poem
(1849) Netochka Nezvanova (Неточка Незванова); a proper feminine name, English transliteration: Netochka Nezvanova (Unfinished)
(1859) Dyadyushkin son (Дядюшкин сон); English translation: The Uncle's Dream
(1859) Selo Stepanchikovo i ego obitateli (Село Степанчиково и его обитатели); English translation: The Village of Stepanchikovo
(1861) Unizhennye i oskorblennye (Униженные и оскорбленные); English translation: The Insulted and Humiliated
(1862) Zapiski iz mertvogo doma (Записки из мертвого дома); English translation: The House of the Dead
(1864) Zapiski iz podpolya (Записки из подполья); English translation: Notes from Underground
(1866) Prestuplenie i nakazanie (Преступление и наказание); English translation: Crime and Punishment
(1867) Igrok (Игрок); English translation: The Gambler
(1869) Idiot (Идиот); English translation: The Idiot
(1870) Vechnyj muzh (Вечный муж); English translation: The Eternal Husband
(1872) Besy (Бесы); English translation: The Possessed
(1875) Podrostok (Подросток); English translation: The Raw Youth
(1881) Brat'ya Karamazovy (Братья Карамазовы); English translation: The Brothers Karamazov (here)
The Double
A novel by

Fyodor Dostoevsky

Most significant of the Russian novelist's early stories (1846) offers a straight-faced treatment of a hallucinatory theme. Golyadkin senior is a powerless target of persecution by Golyadkin junior, his double in almost every respect. Familiar Dostoyevskan themes of helplessness, victimization, scandal-beautifully handled in small masterpiece.(here)
Fyodor Mikhailovich Dostoevsky and his novel "The double"

Chinese edition the double

Product Description
The award-winning translators Richard Pevear and Larissa Volokhonsky have given us the definitive version of Fyodor Dostoevsky’s strikingly original short novels, The Double and The Gambler.

The Double is a surprisingly modern hallucinatory nightmare–foreshadowing Kafka and Sartre–in which a minor official named Goliadkin becomes aware of a mysterious doppelganger, a man who has his name and his face and who gradually and relentlessly begins to displace him with his friends and colleagues. The Gambler is a stunning psychological portrait of a young man's exhilarating and destructive addiction to gambling, a compulsion that Dostoevsky–who once gambled away his young wife's wedding ring–knew intimately from his own experience. In chronicling the disastrous love affairs and gambling adventures of Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character. (here)

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