Masterful and extremely elegant in its shots early Antonioni. The haute-bourgeoisie attempts to bridge the gap with its the lower middle class but meets its own demons of female emancipation. The modern woman's vacillation between traditional role-expectations and autonomy is conveyed with understated detail and could not find a better vehicle than the ethereal Rossi Drago. A master of the cinema of the gaze! Superb!
Astonished to discover a chatty Antonioni only to find it cohesive with his other works along almost Cioranesque views that furibund productive inebriety hides the obsessive fear to face oneself. Producing words, art, business plans, compulsive flirt to hush resonant emptiness beneath. But every thorough analysis is a profanation and lifelessness' doorstep, (self-)knowledge comes at a bitter price, accepted illusions
I think far too much is made of Antonioni's supposed break w/ neorealism. Le amiche, particularly, seem like a movie very much engaged in a dialogue w/ Rossellini and early Visconti. Movies primarily focusing on the upper classes cannot rightfully be considered films about class? Absurd. What distinguishes Antonioni, even early on: the idea of choreography married to mise-en-scène, and eerily effective dispassion.
“You’re going to see a miracle tonight.” “What kind of miracle?” “We’re going to have a good time.” Sweeter, more wistful, and much more plotful than Antonioni's later, better-known ice-capades, Le Amiche and its hearts in hibernation are no less desperate, equivocal or doomed.
Cinematography by Gianni Di Venanzo. It begins to seem a typical Italian comedy of the genre "Telefoni Bianchi", but as long as the dramatic density goes deeper and the various paths of the protagonists are detaching one from another, Antonioni builds a formalist découpage that registers perfectly their "mal de vivre "and "noia ". The next film would be obviously a "grido".
Como Bergman, Antonioni realiza un filme sobre mujeres que cargan conflictos amorosos, solo que a diferencia del sueco, aquí las féminas no viven atormentadas por su pasado. Sus amores pertenecen a un presente y de su pasado poco se sabe. Aquí las mujeres no son presa de la inestabilidad. Cada una sabe lo que desea y cínicamente van cargando las consecuencias, sea la mediocridad, la alienación, el agoísmo o la muerte