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. . Apocalypse not quite now, but soon:  “. he (Hitchcock) is not concerned with the content of a film, which is quite obvious in Marnie, and it is how a film is put together which stands uppermost in his mind.” (As already noted, the same might be said for Il mistero di Oberwald.) Not long after L’avventura was shot the hut was destroyed by a violent storm and also appears to have been partially consumed by fire, strangely reminiscent of the fate of the shack where the “orgy” took place in Il deserto rosso. . I do not know the evidence upon which Peña’s observations are based, nor do I know of any convincing evidence that the Bestiola is a call girl. Love is dangerous to your health, a theme broached early in the film in the first scene at the Borsa where a repetitive linkage is made between money, sex, and death. The irony here is that Constance does not realize that she may be wrong, or that—even if she is correct—that she is not exempt from laws that apply to herself as well. And what of the minute of silence for the death of a salesman? Much of, concerns exotic Chinese architecture. For Antonioni, the stakes were much higher. This apparent implication is, to my mind, a debatable and ultimately ironic generalization, especially considering that a constant theme in Antonioni’s film is inconstancy. All movies, including documentaries, are at least one step removed from what they record, that is to say, reality. In a filmed interview which Antonioni gave--contained within the documentary by Sandro Lai, Michelangelo Antonioni:  The Eye That Changed Cinema, a documentary which in turn is included as a supplement in the Criterion Collection DVD of L’eclisse--Antonioni speaks with almost breathless admiration of new computer technology employed by Spielberg and Lucas which Antonioni states he feels will someday not only revolutionize cinematography, but the way we regard life itself. . (An inch is as good as a mile; the thickness of this pane of glass--a thin, transparent sliver of a barrier simultaneously connoting both proximity and infinite distance--might be measured not in millimeters, but light years.) Or “watch”  the tape recording David Locke listens to while in his hotel room in Chad in The Passenger, one of the most complex flashbacks--a manipulation of sound, image, and time-- in all of cinema. Other potential cinematic and literary references abound, but I cannot confirm that--despite the literal appearance of some specific books and magazines in, plot and/or ending details about film to follow.) Claudia’s act of shutting the door is but another “addio,” as if a stage curtain had unexpectedly fallen not at the end of a play, but at its beginning. Atomic Bomb Cinema is nearly twice as large as film noir, but has not received the same comprehensive scholarly attention. Because I do not know the details regarding how these screenplays were actually written and their ultimate relationship to the film itself, I cannot account for the difference between “auto accident” and “heart attack.”  Referring specifically to the screenplay for, As opposed to Piero, Vittoria doesn’t seem particularly interested in cars. Gavriel Moses reminds us that “. In Identificazione di una donna, Antonioni repeats a trick he uses in L’eclisse: he begins a scene with a close up of a painting which we momentarily confuse with the “real thing.” The painting in question is that of a Roman landscape with the Basilica di San Pietro seen from the direction of Castel Sant’ Angelo. University Of Chicago Press [2007]; interview available on-line at:  http://diaryofascreenwriter.blogspot.com/2012/11/antonioni-discusses-passenger.html  [retrieved 7 2014]). I imagined that the black letters on the white sign, now somehow transformed blood red, had rearranged themselves again: Daisy. . The final image of Identificazione di una donna is that of an “asteroid-spaceship” hurtling towards the Sun. (The car is identified by the Internet Movie Cars Database Dark things are drawn to brighter, Seller assumes all responsibility for this listing. Not here, not now. Standing opposed to Antonioni’s appreciation of Jud Süß is that of Harlan’s daughter, Maria Körber, who has described her reaction to her father’s film:  “I wept and was in despair, I couldn’t believe what I saw. Antonioni’s use in his films of contemporary love tunes that have no lasting musical or other merit, would seem to run counter to his self avowed reluctance to use music at all in his films (“I am personally very reluctant to use music in my films, for the simple reason that I prefer to work in a dry manner, to say things with the least means possible. A questo punto diventa ormai chiaro cosa stanno cercando i Mezzanotte e perché hanno fatto uccidere i due vecchi boss, ma ormai è troppo tardi: infatti, grazie ad una soffiata, un commando con a capo Armando Mezzanotte fa irruzione nell'ospedale massacrando 7 persone tra medici e agenti di polizia. The perspective of Vittoria viewed from a low camera angle à la Ozu, close to the ground, tends to offer an unusual and somewhat distorted view of Vittoria as compared to normal adult perception (Children and midgets have a different visual perspective of the world as compared to normal-statured adults). Lo sguardo estatico, a recent (2008) book by Vittorio Giacci, there is a lengthy section of the book (pp. For Claudia, such a moment could be expected to trigger not only a powerful sense of déjà vu, but hopefully, also a lightning-like awareness of a fundamental, recurrent, and persistent problem that Sandro suffers from. . I was with a girl who had a name, Suzanne, my wife, née à Paris—an important fact considering that her Parisian mother had survived the last transport to Bergen-Belsen and the chain of causality leading to the intersecting paths of one Suzannne and David were allowed to cross—and on this lucid, lovely day, no rain in sight, about 22 degrees, we strolled for less than 10 minutes at the bullring. Tina Hedwig Kaiser in her recent study discusses in some detail the issue of “space” (or the absence thereof) in La notte and L’eclisse. We can no longer see nor hear the water flowing from the broken vessel, but Antonioni has nonetheless declared, “Après moi, le déluge,” the water leaking from the hole in the barrel, “the crack in the teapot leading to the lane of death.” In a scene towards the end of the film, we first see a view of the mountain, Sainte-Victoire, presumably from the point of view of the Malkovich character (himself a simulacrum of Antonioni) as he sits in a train passing before the mountain. Moure writes of Antonioni’s abiding interest in stairs and stairways and of Antonioni’s abandoned project of 1950 entitled Scale (Stairs), in which the director had wished to film a succession of brief incidents occurring on different types of staircases. Every morning the cast and crew were ready on time for the passage of the train which was to startle the two lovers. Let us go and make our visit. and all days to come . In addition to the film critics and historians who participated in this expedition to Lisca Bianca, there was also a geologist, recruited to confirm that landslides, erosion, fractures, and crumbling had altered even the real as opposed to fictive rocks. Però, La Viola porta via cinque dei trentadue scacchi del ricco Parrini. As recent a 34-page chapter on The Passenger contained in a book published in 2011 on Antonioni’s colour films does not discuss the issue as to whether the Girl may be a foreign agent (Pomerance, Murray.) So the last shall be first, and the first last. The dramatis personae have vacated the stage, the screen becomes consumed by a white light (as if the film itself were caught in the sprockets of the projector and set afire), and finally, when one might say nothing, nothing at all is happening any longer, the world emits a long agonizing wail. The famous single shot ending of The Passenger is celebrated as one of the greatest moments of artistry in all of cinema’s history, one that seems so grounded in the visual sense. It is a technique not entirely dissimilar from the type of figure-ground discrimination puzzles found in children’s magazines and comics, subliminal advertising and propaganda or, alternatively, in some sophisticated neuropsychological testing. (Biarese and Tassone go so far as to describe this last scene as, “La prima memorabile ‘eclisse’del cinema di Antonioni” / “The first memorable ‘eclipse’ in the cinema of Antonioni.” [p. The camera then recedes to show Vittoria as she moves to screen left and turns around placing her back to the barrel as if to hide the act she has just performed. (The covers of both volumes of Alain Bonfand’s study of Antonioni [Vol. as is--in some profound way--the film itself. Much of Chung Kuo Cina concerns exotic Chinese architecture. To further complicate matters, the word, “radioattività,” is cited by another recent Italian Internet site as being part of the lyrics of  “L’eclisse twist”: “Le nuvole e la luna * Later, it is a white convertible with a blood-red interior that carries Locke from Barcelona to Osuna en route to his rendezvous with death (almost running over several schoolchildren crossing the street in the city of Almería). As you shall see, I, too, have become confused, unable to extricate my own life from that of L'eclisse (Endnote #41). The miracle has subsequently been represented countless times in art including painting, music, literature, and . The first scene of, begins with the same argument that Vittoria and Riccardo have already had. In Antonioni’s first major documentary—his first film if you will—, , while Guido awaits alongside a dark country road for the approaching car of his lover’s husband--a man he intends to kill--we hear a propeller aircraft flying conspicuously overhead. It is noteworthy that all of the screenplays are quite “sketchy” in terms of many of the rich detail that characterize the completed film. If you think that such interpretations are difficult to conceive remember that “almost all of Antonioni’s films depict death in some guise, whether murder, execution, suicide, or death by disease or accident” (vide supra). I know few of the specifics as to how Antonioni actually shot his incredibly detailed film. Marcello Mastroianni Vittoria specifically employs the slang Italian term “una squillo” to refer to “prostitute,” a word related to the verb, “squillare” (“to ring,” as applies to a telephone) or the noun, “squillo” (“ring,” as in the sound a telephone may make), which carries us figuratively back to Piero’s telephone conversation as he is reading the newspapers regarding the prostitute killed in the park. Lurking behind the issue of whether Antonioni reified characters and/or actors is perhaps the larger question as to why Antonioni ever bothered to make movies in the first place. Una storia economica e sociale, Firenze, 1984. she [Vittoria] takes up with Delon for no clear reason and at the end seems to be about to leave him too, also for no clear reason.”  Perhaps, in this regard it may be appropriate to remember the observation made by the psychoanalyst, Dr. Brulov, in Hitchcock’s. In Il grido, Aldo tells his ex-girlfriend, Elvia, who he is visiting after many years: “Non sto più a Goriano (Aldo’s hometown). A beautiful, gratuitous scene of wild horses that have once again “escaped,” reminiscent of the sudden appearance of wild horses running in the arid plain of, . As we gaze at the index finger of God Himself as He is about to touch the index finger of Adam—the seminal threshold of humankind—it is customary to gaze at the two respective fingers either directly, or to indirectly gaze at the images using the hand held mirrors that are available in the Sistine Chapel to facilitate our viewing of the ceiling and avoid straining our necks. As Yeats has noted: , near midway in the film, the movie director Niccolò is seen reading the, e in his apartment, the headline of one of its articles being, “Expanding Sun Poses Threat to Earth’s Future.” (The cold war fear of immolation in a nuclear war latent in, by the new fear of the Sun’s more “natural” nuclear fission, solar as opposed to global warming.) .) contrast between foreground and background is obliterated. ends at dusk, a bad time for viewing a solar eclipse. Armando Mezzanotte, mandato dal fratello, con altri sicari, danno un chiaro segno di minaccia al ricco imprenditore Umberto Nobile, sparando contro il cartello pubblicitario della sua azienda, la "Puro Sole", dato che loro si sono accaparrati il controllo di un'altra azienda che si occupa di impianti eolici, come quella di Nobile, la "Green Light", e per vincere una gara d'appalto, devono eliminare la concorrenza, rappresentata esclusivamente dalla "Puro Sole". This is not the evidence that will convict or even idict a person in a court of law or grand jury in the real world. Domenico riesce a rintracciare Rosy e la porta con sé, a discapito di Giorgio Antonucci. The couple’s argument occurs in front of the very piazza where in 1960 in L’avventura stands Sandro’s apartment. In the light of such reasoning Antonioni may have been less interested in exploring the artistic significance of reification than in winning honour, power, and the love of women. Up to this point I had been pronouncing in my mind the “two words” as they would be spoken in Spanish. New Brunswick and London: Rutgers University Press, 1989. In both cases the choices made were the safe ones that accrued some benefit for Antonioni. An analogous or mirror scene occurs later in the film when Vittoria meets Piero at the Eur lake as the Alfa is being raised bearing the cadaver of the Drunkard. Rosy Abate e Dante Mezzanotte fanno un accordo, in cui lui le dice che la tratterà bene, e in cambio lei svela che ha in mano un pezzo della lista, ma non dice dove l'ha nascosta. Vittoria’s mother, an overtly superstitious person, performs her own rituals in Rome’s Borsa, scattering salt, for example, on the Borsa’s floor. (As mentioned in Endnote #10, a possible exception to this rule occurs in Cronaca di un amore:  As Guido exits the Milano planetarium with Paola he remarks:  “Sembrava di essere in Africa. is the degree to which the director is conscious of the profound aspects of his film’s themes, how deliberate is his elaboration of the themes, and what is his own attitude and tone toward the themes. Sì, From that moment on, the film is driven by Locke’s attempts to keep the appointments of a dead man. Likewise, the conclusion of Le amiche which occurs at the Turin train station concerns the failure of Clelia and Carlo to keep their appointment with each other. L'appuntamento è nella terrazza di un palazzo in centro. Shot 39 of the Coda In questa prima puntata la Duomo è sulle tracce di un vecchio latitante di ritorno a Palermo scortato da un commando su un treno regionale, ma prima che la squadra possa trarlo in arresto, un misterioso killer apre il fuoco uccidendo i gangster e ferendo Serino che morirà tra le braccia di Pietrangeli, il suo migliore amico, mentre Calcaterra tenta invano di inseguire l'assassino che intanto ha già fatto perdere le proprie tracce. Almost a decade had passed since that moment of regaining my senses when a peculiar event occurred, one that was again linked to The Passenger and Osuna. As Yeats has noted: “Plato thought nature but a spume that plays It’s Japan that could fulfill the wish of the French writer who wanted divorce to be made a sacrament. Antonioni is far from original in his preoccupation with the linkage between love, sex and death. Paris : Images Modernes, 2003.] La poliziotta è riuscita a salvare per la seconda volta Rosy, ma questa volta, ha pagato cara la sua bontà. When he was about ten years old, Michelangelo Antonioni began to design puppets and stick figures, but not in the way most children do. ), either slashing Corrado in half, or barring Giuliana from the forbidden object of her regard on the other side of the red line drawn in the cinematic sand. The camera then recedes to show Vittoria as she moves to screen left and turns around placing her back to the barrel as if to hide the act she has just performed. (It is ultimately easier and to some degree more “natural” to simply film the two or more characters engaged in a conversation with one camera, the characters all visible in one frame.) E poi buio. finally there is nothing more than a naked fear of death, Todesangst, which has whipped into a frenzy the urge to taste as much of life as possible before the inevitable end (deliberately paraphrased translation from the German version of the film by author, d.s.r). Mancini and Perrella remind us of Claudia’s question in L’avventura, “Does it take so little time for everything to change?”  It may take no time at all:  The aspect ratio of two popular DVD versions of L’eclisse is such that cropping occurs, eliminating portions of the image at the horizontal or vertical edges. Antonioni, however, is continuing—even in the final shots of Vittoria in L'eclisse—to go to the trouble of viewing her from the two sides, inside and outside, of the “frame.”  This is little different from how L'eclisse began, in Riccardo’s home with Vittoria’s hand rearranging objects through the space of the empty frame on Riccardo’s table, additionally showing us the “composition” of the frame from both sides, front and back. The end of L'eclisse differs, however, in at least one small way: as the word “Fine” appears this time on the screen, even this word, the “end,” is suddenly wiped out. (The question arises as to whether Antonioni deliberately fabricated such a “false” handle in order to create the momentary image of the barrel--with its broken piece of wood and match cover--cleaved in two.) Vittoria. In La notte, a train suddenly hurtles by in the night immediately prior to Roberto’s unsuccessful attempt to kiss Lidia. Silenzio diverso da tutti gli altri silenzi. When one encounters such quotations that appear so peculiar, one must consider whether the quotation has been mistranslated, taken out of context, is a typographical error, etc. (He does not employ any glue or tape, but simply firmly presses the photo against the presumably cold and damp window causing Louise Brooks to adhere to the glass [an atomic dance of van der Waals forces, one more mysterious force of physics and not of psychology causing one thing to become attracted to another, the force that permits a gecko to climb a tree at 3 feet per second or Vittoria’s and Piero’s lips to stick to a glass partition dividing each of them from one another? The same applies to Antonioni’s handling of actors, beings who in an Antonioni film may resemble puppets more than living creatures. Sotto le spoglie di un buffo clown, si nasconde uno spietato assassino. Fisicamente rappresentava la donna dei miei film. The sailor responds in barely recognizable English, “I love you, I love you.”, When Vittoria arrives at the Borsa for the first time early in the film, she exits from a taxi that she has taken to the entrance of the stock market at the Piazza di Pietra. In the finale of The Passenger at the Hotel de la Gloria, we hear an apparent train passing by just as Locke turns away from the window minutes before he must die. For Claudia, such a moment could be expected to trigger not only a powerful sense of déjà vu, but hopefully, also a lightning-like awareness of a fundamental, recurrent, and persistent problem that Sandro suffers from. (Delon made a remarkable number of films in Italy with a variety of Italian directors, not the least of which were the two magisterial Visconti films, Rocco e i suoi fratelli [“Rocco and His Brothers,” 1960] and Il gattopardo [“The Leopard,” 1963].) To do so would have simply meant the end of Antonioni’s career as a journalist writing for fascist journals and impede his eventual access to the highest circles of Italian fascism where he would soon be hobnobbing with the likes of Vittorio Mussolini. I know few of the specifics as to how Antonioni actually shot his incredibly detailed film. In such a world of digital cinema, Vitti and Delon might have been eliminated, their snatched bodies replaced by computer generated images. A vincere è adesso Umberto che, per festeggiare, vorrebbe portare a cena fuori Francesca Leoni, l'ispettore della Duomo. We may remember that in L'eclisse the Verona airport even has a small African population, and that the city Verona is itself at the very foot of snow capped peaks, the Alps. Pietrangeli.com uses cookies to ensure you get the best experience on our website. Poi, i suoi occhi si perdono nel vuoto, mentre il bambino continua a respirare. Are the men, like the strange sign, a sign? Sandro Pietrangeli. . A poor, young man—a humble carpenter whose face remains hidden from we the audience—bends down over Ben-Hur and gives him the few drops of water that will replenish his life. . . Many similarities and repetitions exist between L'eclisse and other films by Antonioni. Although all three principal “screenplay” versions of L'eclisse (1962 Lane, 1963 Orion, 1964 Einaudi) as well as the English sub-title in the Criterion version indicate “un libro” (“a book”), in the film itself Vittoria seems, perhaps, to actually utter the word, “dito” (finger). In the light of such a question, it seems increasingly less curious to me that Antonioni would shoot himself with a large sign resembling a gun in the final scene of Blow-Up. Chiaretti writes in his essay, “The Adventure of L’avventura”:  “The love scene at Santa Panagia was interminable. After reading the Tribune article regarding the Sun, Niccolò will then on three subsequent occasions go to a specific large window in his apartment, one that is immediately next to his desk. The lyrics of the song sung by Claudia in, are, however, in the same key as the final declarations of eternal love sworn by Vittoria and Piero in their final meeting. Then they began to climb and they were going to the East it seemed, and then it darkened and they were in a storm, the rain so thick it seemed like flying through a waterfall, and then they were out and Compie turned his head and grinned and pointed and there, ahead, all he could see, as wide as all the world, great, high, and unbelievably white in the sun, was the square top of Kilimanjaro. Piero barely knows Vittoria, and there are, after all, more romantic contexts for promoting a budding love affair. Bondanella’s comment on the meticulous craftsmanship of Antonioni could equally apply to Hitchcock. (“Daisy,” from Old English, “dæges eage” (“day’s eye”); the petals of the flower opening at dawn and closing at dusk.) Like “The Tennessee Waltz” played in the bar en route to Zabriskie Point, these sentimental ballads are equivalent to the phenomenon of whistling past the grave. In 1950, Antonioni made a 10-minute documentary, La funivia del Faloria, concerning the gondola (“tram”) that runs from Monte Faloria to Cortina d'Ampezzo. The scene has taken place at the water barrel beneath a large sign that is just off screen above Vittoria and Piero’s heads. In Antonioni’s first major documentary—his first film if you will—Gente del Po (shot in 1943), the soundtrack of the opening credits sounds perhaps like that of a machine of some sort. an idea from Hemingway flashed through his [Antonioni’s] mind: Death in the Afternoon, Hemingway’s book on bullfighting, with its dusty arena, the corrida music, and so on, all of which is suggested by what occurs outside Locke’s window [in the final scene].”  Indeed, in the opening segment of The Passenger one may see a primitive mural of the “running of bulls”—resembling a Paleolithic cave wall drawing such as at Lascaux in Dordogne, France—painted on the white wall of the reception room of the Saharan hotel where both David Locke and David Robertson are staying, adumbrating the final corrida de toros in Vera, Spain, at the conclusion of the film. In, , Aldo fails to learn how to fly in such a changing world, and like Icarus falls to his death at film’s end. The issue of who is a spy and who isn’t—a question related to the more fundamental theme of the nature of Identity itself—is a thematic staple of both high and low espionage fiction. the unexpected reprise of the “The Twist” that is suddenly heard as Vittoria enters Piero’s childhood bedroom offers an auditory association with Piero. . But the film trudges on, and towards its conclusion Sandro is now in a room with his new lover, Claudia, in the Hotel Trinacria in the heart of historic Noto, making love to the substitute for Anna, Claudia, in a manner that could meet the legal definition of rape. . By some collision of nature, nurture, and providence, Antonioni was that rare director who could paint the storybook of his film on the screen of his mind. Italian cinema propaganda, the main voice of which was still under the directorship of Vittorio Mussolini, was presumably puppeting the lead of their German masters. In the case of the water barrel, if one regards the image of the round surface of its water as a microcosm of the world itself--peopled as it were by a broken piece of wood and a book of matches--then this world, at this the end of L'eclisse, is being blotted out by a white, diagonal line at the same time its life blood is being drained into a gutter below.

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