[all links may contain SPOILERS] Antonioni's unique style works beautifully in
The Passenger. The dream-like long takes, especially the final seven minute one where the dusty town square is seen through the barred window of Locke's hotel room—evokes a world that he is barred from. There is nothing romantic or sentimental about the space that we see, but it conveys a sense of an ongoing life that Locke has chosen to retreat from. There is also Antonioni's eye for aesthetic detail-for whitewashed walls of buildings, and vividly colored backgrounds like yellow doors and red car seats. He is a director of great formal rigor and beauty, whose style effortlessly suits his vision. The slow rhythm of the film may put off some viewers, but it forces them to be more observant, and understand there is nothing accidental in the images that Antonioni constructs.
- Leonard Quart [more inside]
posted by Egg Shen
on Sep 9, 2012 -
Many films are called “classic,” but few qualify as turning points in the evolution of cinematic language, films that opened the way to a more mature art form. Michelangelo Antonioni’s L’Avventura is such a work. It divided film history into that which came before and that which was possible after its epochal appearance. It expanded our knowledge of what a film could be and do. It is more than a classic, it’s an historical milestone. ... Antonioni’s great achievement was to put the burden of narration almost entirely on the image itself, that is, on the characters’ actions and on the visual surface of their environment. He uses natural or manmade settings to evoke his characters’ state of mind, their emotions, their life circumstances. We learn more about them by watching what they do than by hearing what they say. We follow the story more by reading images than we do by listening to dialogue. The settings are not symbolic or metaphoric—they are extensions, manifestations, of the characters’ psyches. Physical landscape and mental landscape become one.
- Gene Youngblood
posted by Trurl
on Apr 29, 2012 -
Movie trivia: If someone were to ask you the name of a 1966 mystery/thriller that was shot in London, included a Redgrave sister in the cast, and had a soundtrack composed by a jazz giant, you would have two choices for an answer
. [more inside]
posted by perhapses
on Sep 28, 2011 -
[Michelangelo Antonioni's Chung Kuo] as a documentary film was one which was draped with fascination for both filmmakers as well as an audience, rather than championing anti-whatever sentiments from either side of the world. Not having seen many movies, either features, shorts or documentaries made during the Cultural Revolution era or about that era in question (propaganda included), I think this Antonioni film has more than made its mark as a definitive documentary that anyone curious about the life of the time, would find it a gem to sit through.
posted by Trurl
on Jul 11, 2011 -
Pauline Kael called it "a huge, jerry-built, crumbling ruin of a movie". Roger Ebert called it "such a silly and stupid movie... our immediate reaction is pity". Few directors of Michelangelo Antonioni
's stature have followed a film as acclaimed as Blowup
(1966) with one as reviled as Zabriskie Point
(1970). [more inside]
posted by Joe Beese
on Jun 25, 2009 -
All Fall Down:
Remember the famous explosion sequence in Antonioni's Zabriskie Point
? Fiona Villela says
: "Flying toward the viewer, these many shards of shiny bits and pieces that once served a utilitarian purpose when part of a greater object here exist in and of themselves in a purely dazzling spectacle. This is the only way Antonioni can see the beauty of American capitalism, as a rainbow of shattered objects lost in space and time.
". What is the (undeniable) pleasure of watching big structures, that took years to build, destroyed in a few seconds? And has September 11 taken the fun out of implosion voyeurism
[Via memepool; original post by yoyology; Real required.
posted by MiguelCardoso
on Nov 21, 2002 -