★★★★½ /35mm/ Antonioni’s masterpiece, seamlessly captures his themes of alienation through the anguished plight of a man rejected, aimlessly wandering the desolate landscape until he is physically and spiritually worn out. A remarkable film, enhanced by Venanzo’s divine cinematography and the superb performances of Cochran, Valli and Gray.
paisagens desoladas, protagonista sem rumo até perceber o tamanho da loucura que habitava dentro dele. sem esse clichê das fotografias refletirem a complexidade mental da personagem; mas ambas devastadas por um pós-guerra que invade as províncias rurais
Another fantastic bit of melodrama from Michelangelo Antonioni, this looks at a man who finds himself at a loss when the relationship with a woman he loves comes to an end. He cannot settle, despite having various opportunities for employment and other relationships, and struggles through life without allowing himself to properly move forward.
Il Grido (The Scream) is mainly memorable for its unrelentingly bleak and flat monochrome landscapes which reflect our hero's relentless ennui. Through this impoverished wilderness our engineer flounders, unable to hold down a job or a relationship. The state delivers the final straw by appropriating the wilderness and destroying the community. It's enough to make him scream.
Apart from the interest of having a man at the heart of an emotional film, this film was fascinating due to the countryside and the atmosphere of post war Italy. His decent into taupe due to his broken heart is never sentimental. The atmosphere never draws us in too close so we remain quite objective. Bleak horizons and endless mud, it's almost as if the country is dying along with him.
casted out as bedouins and émigrés, we orphans of the neoliberal condition left to wander the desert plateaus. having lost everything, the lost children that have inherited nothing but précarité. indeed we cry, tired of itinerance, but our loss destines us for encounters. true action is not accomplished, but is a process in which we abandon ourselves becoming defectors. only nostalgia separates us from the unknown.
Beautiful film about a miserable person. I guess that is why he slaps women around (the little girl, too) because he is a miserable jerk. Why does everyone just stand around and watch while he does it and no one says anything? It's difficult to feel sorry for him but I feel sorry for everyone in this picture. So much misery in post-war Italy produced a lot of great films!