"The most beautiful couple in the history of movies." Isn't that what Tom Ford says? I would agree with that. And I think the film is beautiful, certainly, but Antonioni asks the audience to do an awful lot of work. It reminds me of watching Diana Ross Live when she asked everyone to sing along on EVERY SINGLE SONG! I wanted to be paid as a performer. This film requires you to fill in long stretches of enigma.
The final segment of bourgeoisie love affairs. Antonioni really captures modern alienation so elegantly with little dialogue and superb editing. I prefer La Notte out of the three as this film was ruined by a rascist scene worth skipping- a motaphor that compared the passion of the exotic to the rationality of modern man.
4.5 stars ~ Didn't care much about La Notte, but L'Eclisse comes a close second to the eternally gorgeous L'Avventura in Antonioni's trilogy. Vitti is hypnotic as always, and although this isn't Delon's best role or performance, he has great chemistry with Vitti. Wonderful interplay between the characters and Rome's landscapes and spaces.
I feel like this is probably a great film. I just don’t feel it in the right way. After the captivating “L’Avventura” and the surprise greatness of “La Notte” (surprise because it’s said to be the lesser of the loose trilogy) I was disappointed by this one’s inability to grab me, or at least intrigue me the way the others had. Needs a revisit sometime down the line.
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.
Full of beauty and distraction this ennuis film tells its audience most things indirectly - though the events around the lovers. From the scenes at the fetishised and tempestuous stock exchange to the open skies of an air field there is a sense of proportion - of things beyond the self. The final shots emphasise the absence of a relatable subject in the minute perpetuity of existence faced with immanent nuclear war.