In a nutshell, Everyone who goes to cinema to watch movies pretend that story is real. so this movie is playing with visual perception like a rag doll.
Film dal significato molto complesso,che và ben oltre la semplice trama.Antonioni, con la solita eleganza registica,ci parla della relatività della realtà in modo sottile e geniale.Volutamente lento per privilegiare le inquadrature, il film gode di una fantastica fotografia e sembra gridare che la verità può apparire distorta quando si è dall'altra parte dell'obiettivo e della camera.Finale emblematico e surreale.4*
"I'm only doing my job. Some people are bullfighters, some people are politicians. I'm a photographer. "
Stories do not have to be followed all the way through, in order to be great ones. Life's events can't always be explained or resolved. As thought-provoking as they come.
"There is no corpse of the real, and with good reason; the real is not dead, it has disappeared" -- Baudrillard
I changed my mind about this movie after reading about it. I felt something special. Actually I felt somewhat surrealism. Then I think, actually this movie serves well to your perception. Watching a tennis ball which does not exist could make you feel different in many ways. You could see it as "invisible ball". You could see it as "unconscious vision". You could pretend to see it exist.
Hadn't seen it in years & had blessedly forgotten the ending. Obvious telegraphing symbolism of the most embarrassing sort. A truckload of mimes, good lord! I also didn't remember how poorly the jazz soundtrack fit with the movie. David Hemmings is wonderfully unlikeable though & it has the usual visual flair of an Antonioni film. I also love the stoned Vanessa Redgrave grooving to jazz so stiffly you wince.
Hemmings is so unlikable as the lead! Everyone seems to likes this movie because of the swinging 60s aspects to it, which, I admit, are quite well achieved and entertaining, but I can't handle his megalomania or sexism. Gross.
Re-watching this, it has very memorable snippets. The Herbie Hancock soundtrack! Seeing areas of London I grew up in, a few years before I was born. But above all, the seminal Yardbirds scene. "Stroll On" - it's a great proto punk, proto Led Zep moment (thanks to a young Jimmy Page). And look at the crowd, the club in that sequence.
This is the kind of film that I immediately fall in love with. Pure pop art, and totally atmospheric in its evocation of a hip, chic setting. It's a slow burn thriller, and nothing really happens to wrap things up, but I don't give a damn. This movie is so gorgeous to look at, and is such a fascinating time capsule, that I have a hard time not enjoying it deeply.
Antonioni proves how subtle the line between illusion and reality is. I love the way he contrasts la bohème keen on useless material things with the world that doesn't need things at all (the ending is just fantastic)
a quiet film where nothing really gets resolved, but beautiful nonetheless. Hemmings eyes haunt me like no other
I don't think this is the masterpiece that so many people have proclaimed it to be, but it certainly is a fantastic film. The lead performance from David Hemmings is superb and the final scene is very memorable. Essential viewing for movie buffs
Trippy little thing. Bergman was right calling this a masterpiece, loved every second of it.
I didn't like this at all when I saw it, but somehow I keep remembering it, and thinking it over in my mind, and it's started to grow on me... must see this again.
A delicious film to look at but frankly all the existential and surreal touches hammer to death by the Swinging London context were overplayed and undercooked at the same time. I found Hemmings performance hypnotic when he was not talking.
Fashionable pessimism to the nth degree.Ennui in a tight suit,existential undertones,self-discovery,and subtle narrative. Made for mainstream audiences to feel like intellectuals, to pick apart and attach to various meanings. This film is good, great actually, but Antonioni could have done far, far better when working with what he was, and I disdain the fashionable London-in-the-60's context to rely and fall back on.
three fourths into the film I was scanning the obscure backgrounds for other murders.