Also: sparkling Criterion.
Whatever you think of Antonioni it's hard to resist falling for this sere masterpiece. That shot of Vittoria looking at the line of rattling poles at night shares a lot with Conradian nihilism: "Down below in the quiet, narrow street measured footsteps approached the house, then died away, unhurried and firm, as if the passer-by had started to pace out all eternity, from gas-lamp to gas-lamp in a night without end"
Everything I have looked at so far is "not available in your area". What iis the point of this site?
Ennui Roma: Stanza Tre. Starting the most concentrated entry: communication breakdown, failed marriage, unhappiness. Greater depth to La notte’s Fellinisms, targeting the callous affluenza, blind greed, hollow glamour - the suits, cars, pied-à-terres; frenzied stockbrokers the unmistakeable device. After presiding secondary prior, Vitti’s the primary outlet, the muse to Antonioni’s maestro (and, once again, Delon is preposterously photogenic). Its final collage seals it the most despondent of the trilogy; palpable portrait.
Pretty much a perfect film. Athough a couple of scenes really come off as extremely racist and get under my skin.
As in The Passenger, the key relationships are exercises in solipsism from which the leads make brave but hopeless attempts to escape, whether into authentic independence or into a great, "true" love in which the connection runs deeper than mutual mirroring and inertia. The storied closing montage perfectly encapsulates the all-too-immediate anxieties of the time, and presages the explosive finale of Zabriskie Point.
gets better with each viewing. actions are meaningless. Monica Vitti is directionless and emotionally absent, devoid of accountability. the look of content and joy on Alain Delon's face after he finally feels he's on firm ground with Vitti and expects to see her that night is devastating. When she says "I wish I didn't love you, or that I loved you more" is just stupid enough to be real. a masterpiece.
My least favorite of the trilogy, but that ending- holy hell. L'Avventura is still his best, but this competes with it as the most masterfully directed Antonioni film I've seen.
Vitti's character is fascinating; existential heroines are rare. Initially one feels that her condition is temporary; the plane journey and the scene where she gets lost in the imagery of the African wilderness hint at the life of spontaneity she desires. Instead, she escapes into an empty relationship, and the film becomes increasingly hopeless. The incredible finale suggests a world of intrinsic meaninglessness.
Antonioni's most beautiful film, and the closest he came to cinematic abstraction. Essential viewing for any true lover of film.
"We'll see each other tomorrow, and the day after tomorrow. And the day after that, and the next. And the day after that. And tonight. 8:00... The usual place."
piero: why do you always say i don't know? to which i say: why did so many of my friends like this? i don't know.... why did they find the last seven minutes to be so fascinating? i don't know that either! my eagerness to watch this one from michelangelo antonioni was soon eclipsed.......... by ennui......how long will this go on? i don't know....... .
just saw this but lol, for calling out racism? fuck off. i know it was in a judgement way/not condoned in the film but its still not okay/antonioni's place. if a black director tried pulling that shit to make a commentary on white people's racism/fetishism of non-white cultures it'd be different.
Absolute masterpiece. Antonioni defines here modern cinema at its best and develops between poetry and fear the possible emptiness of our lives. It looks like all the environnement is always acting against Vitti's character (looks humourous that her name in the film is Vittoria), the wind in the trees, the structure of objects, of appartement. Looks like the anti-Malick, as Antonioni seeks emptiness in the world.
Antonioni pushes his dead aesthetic to the extreme here and in the process of doing that opens a deep hole for us to fall in. A fall into an isolated and constantly self-destructible void of existing in a world that denies you you primal longings. A fall that you will not forget.
Aren't we all just lovers kissing through glass? The film plods along with minimal dynamics for an hour and 50 minutes as we watch Vittoria drift through her environment and contemplate her situation which is directionless and unmotivated. Then those final 10 minutes kick in which are so striking in comparison that they force you to reconsider everything you have just seen, making this a most insightful film.
Michelangelo Antonioni with his brilliant take on communication (lack of) and relationships. Beautiful Monica Vitti and brilliant Alain Delon making this a delight to watch. Especially the last 10 minutes of this movie are pure artistic nirvana. Antonioni was a director to worship. Highly Recommended!
The first 15mins are rather the most boring part of the film. The movie picks up when Delon enters the frame. His nervous boyish energy, the share trading frenzy and some of the tender moments between Delon and Vitti are the highlights of the film. The random desolate visuals effectively convey the boredom but unfortunately getting bored is a sentiment that doesn't go down well with an interested audience.
The first 15 or so minutes are some of the greatest material ever filmed in cinema history. The thing is, it just keeps getting better. One of the greatest endings I've ever seen. A cinematic masterpiece in every aspect of the word. Dazzling, stunning and simply beautiful.