The concluding chapter of Antonioni’s informal trilogy on contemporary malaise tells the story of a young woman who leaves one lover and drifts into a relationship with another with the architecture of Rome as a backdrop for the doomed affair.
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Re-view. 16mm. Was Red Desert not the 4th of a quartet? Doesn't matter. We get it. More post-war bourgeois malaise, frosty isolation, ignorance, pretension. Still, I was glued- Antonioni's ability to turn objects into symbols, specifically in the first chamber; the crops with sexy finger touch, Vitti declaring "books, table, chair, man" as all the same- here, in cinema, everything in frame is to be tasted. Delicious.
“The sun’s diameter is about 401 times larger than that of the moon, the sun is also 401 times farther from Earth". Scientists sure spread more macaroni than any Italian ever could. Antonioni’s Eclipse merses implausibility even further, with Delon and Vitti’s dermatologic duomachy syzygyzing their Elysian statuses by drawing paralipsic circumflexes above 'inaction' until it becomes the object. Love could be nothing.
I have finally seen Monica Vitti on the big screen! That will shake your world up. Ah, Monica Vitti. Ah, the solemnity of progress. Ah, the dread in which we are immersed. Ah, Eros unto depopulation. The big screen. L'Eclisse. It will return to me on my deathbed and I will let go happily.
"In later years, Michelangelo Antonioni admitted that this was not one of his favorite films and that he went too far and overindulged in the film's controversially elliptical ending."
Agreed. My least favorite of the "Incomunicability Trilogy".
Nobody wants misery, we want happiness. And yet it is precisely by chasing it, and not letting it come naturally, that we disappoint ourselves. And even if we do obtain it, we will only desire more. In this madness, we are rendered vulnerable for our inevitable downfall, as the memories of past struggles are eclipsed by the present sense of nirvana. We fall, we rise, we fall. That is a masterpiece. That is L'Eclisse.
I haver never seen an Antonioni movie before and I think I started out the right way. Watching this movie was like being deeply stabbed in the heart, rather than punched in the stomach. All shots are flawless and the words are so honest. This is pure art and a matter that dialects directly with who I am now. In the end I was hiding my commotion from the crowd and I walked home knowing something had changed.
Cinematography by Gianni Di Venanzo. "Desire" list. Although the actor who more often chose, in fact many of his films belong in all fairness and property in a choice of this kind by the immense beauty of this man, who, I reiterate, it is also a wonderful actor, a combination not very common genius and way, eros and thanatos.
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.