It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). The soundtrack featured music from Pink Floyd (who wrote new music specifically for the film), the Grateful Dead and the Rolling Stones. And you think, 'Well, he's not going to carry that woman all the way up that road.' [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. [3] Film historian David Bordwell writes that in Antonioni's films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Durata 102 minuti. Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. Anticipating Hitchcock’s daring protagonist switch before “Psycho,” as aforementioned, Antonioni’s sixth film was a breakthrough game-changer for the filmmaker and he would never look back. Le amiche è un film del 1955 diretto da Michelangelo Antonioni, liberamente tratto dal romanzo Tra donne sole di Cesare Pavese. 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He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni. La notte won the Golden Bear award at the 11th Berlin International Film Festival,[15] His first color film, Il deserto rosso (The Red Desert, 1964), deals with similar themes, and is sometimes considered the fourth film of the "trilogy". For Antonioni, eroticism is an emotional tool to mask the characters shortcomings. L'Avventura di Michelangelo Antonioni - 1960 - 144' completo Un sentimento indecifrabile e indefinibile. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. Each of these stories is about social alienation.[9]. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. It was out of circulation for many years, but was re-released for a limited theatrical run in October 2005 and has subsequently been released on DVD. Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. When Rome was liberated by the Allies, the film stock was transferred to the Fascist "Republic of Salò" and could not be recovered and edited until 1947 (the complete footage was never retrieved). However, its release was a critical and commercial disaster. I introduced myself and told him that I adored his movies, his contributions to film, because he was the first guy who really started making films about the reality of the vacuity between people, the difficulty in traversing this space between lovers in modern day ... and he never gives you an answer, Antonioni—that's the beautiful thing. One of my favorite games consisted of organizing towns. Consigli per la visione +16. The latter will always be the greater household name in cinema, but with Antonioni’s contributions to the form and the dismantling of conventional grammar perhaps not getting their due appreciation from any but the most rarefied of cinephile circles over the years, we’d argue a wider reassessment can’t be far behind. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. CINEMA Si va da Cronaca di un amore di Michelangelo Antonioni a Goodfellas di Martin Scorsese. As such, “L’Avventura,” is a bold but apropos title, forcing us to think of this type of affair as an adventure that may not lead anywhere or even mean very much, in its exploration of the complexities of desire, longing and connection. Durata 122 minuti. [30] Miklós Jancsó considers Antonioni as his master. È considerato uno di quei film che tutti i fotografi dovrebbero vedere.Grazie a questo film Michelangelo Antonioni ha vinto Palma d’oro al Festival di Cannes 1967 e ricevuto la candidatura agli Oscar del 1967 come miglior film e miglior regista. L'avventura - Un film di Michelangelo Antonioni. Maybe with last week’s belated Criterion Collection release of “La Notte,” perhaps the most sensually striking of all his modern tetralogy, the time is now. La notte è un film di genere drammatico del 1960, diretto da Michelangelo Antonioni, con Marcello Mastroianni e Jeanne Moreau. Distribuito da CIC - L'UNITA' VIDEO Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. Filmmaker, novelist, and screenwriter Alain Robbe-Grillet (he wrote Alain Resnais‘ masterwork, “Last Year at Marienbad“) once said, describing Antonioni’s work with a comparable auteur, “In a Hitchcock film, the meaning of what you see on the screen is constantly delayed, but at the end of the film you understand everything. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. "[23] Antonioni is also noted for exploiting colour as a significant expressive element in his later works, especially in Il deserto rosso, his first colour film. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. As her memory fades into the background, her boyfriend and best friend go from concerned and investigative to eventually enamored of each other and tangled in their own troubled and tortured love affair. "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). The picture could be seen as an erosion of values—how friends abandon their compatriots for a shallow affair that’s likely not going to last, but Antonioni is actually operating on a more complex level and embracing their relationship, not condemning it (which is usually the case with the torrid affairs he depicts). But he does. I film di Antonioni che ho visto: Gente del Po (1947, documentario) *** Cronaca di un … He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist". European Film Academy Lifetime Achievement Award, Italian National Syndicate of Film Journalists, Italian National Syndicate of Film Journalists Silver Ribbon for Best Director, "What Antonioni's movies mean in the era of mindfulness and #MeToo", "Michelangelo Antonioni: Centenary of a Forgotten Giant", "Interview with Michelangelo Antonioni in Rome", "Michelangelo Antonioni: stately cinematic master or pretentious bore? Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. Il primo dei film che andremo ad analizzare è L’avventura, del 1960. In Le Amiche (1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style. The second to last film Antonioni would make with Vitti is the director’s first in color, and he makes striking use of the new tool, framing his urban landscape at a harsh, cold distance. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. Drammatico, Italia, 1960. In 1980, Antonioni made Il mistero di Oberwald (The Mystery of Oberwald), an experiment in the electronic treatment of color, recorded in video then transferred to film, featuring Monica Vitti once more. [9] Antonioni returned to their use in L'avventura (1960), which became his first international success. [1] All of these films star Monica Vitti, his lover during that period. Blow Up è un film del 1966 di Michelangelo Antonioni, un cult non solo da parte degli appassionati di cinema, ma anche di fotografia. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. We have been capable of all this, but we have not been capable of finding new ones. [24], Antonioni's plots were experimental, ambiguous, and elusive, often featuring middle-class characters who suffer from ennui, desperation, or joyless sex. “L’Avventura” (“The Adventure” 1960) Antonioni, Michelangelo, “Il ‘big bang’ della nascita di un film,” in Cinema Nuovo (Bari), December 1981. With this wrong finally righted (we’re sure it was a rights thing but “La Notte” belonged in the collection a decade ago), we decided to take a look at the essentials of a sometimes overlooked titan of cinema: Michelangelo Antonioni. Durata 140 min. The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. A frustrated war correspondent, unable to find the war he's been asked to cover, takes the risky path of coopting the identity of a dead arms dealer acquaintance. There are people who do adapt, and others who can't manage, perhaps because they are too tied to ways of life that are by now out-of-date. My intention ... was to translate the poetry of the world, in which even factories can be beautiful. Curiously enough, our friends were invariably proletarian, and poor. These three films are commonly referred to as a trilogy because they are stylistically similar and all concerned with the alienation of man in the modern world. [5] The director explained to Italian film critic Aldo Tassone: My childhood was a happy one. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities. Quando deciderete di andare a vedere questo film, accettate un consiglio e fate così: pagate il biglietto e per i primi trenta minuti statevene tranquillamente fuori dal cinema. It's too simplistic to say—as many people have done—that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. These childhood happenings - I was eleven years old - were like little films."[7]. Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. Di Michelangelo Antonioni, Steven Soderbergh, Wong Kar Wai. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. However, Antonioni was fired a few months afterward. He continued to do so in a series of other films: I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche (The Girlfriends, 1955) about middle-class women in Turin. In 1943, he travelled to France to assist Marcel Carné on Les visiteurs du soir and then began a series of short films with Gente del Po (1943), a story of poor fishermen of the Po valley. A “noir in reverse,” “L’Avventura” is almost two different films in one: an austere, haunting and strangely disquieting first half where a socialite goes missing on a remote island while on a boat trip with her well-to-do friends, its chilly environment, as usual, is the perfect setting for the disaffected psychology of the characters (a fundamental element of all subsequent Antonioni films). Perhaps emboldened by this affirmation, Antonioni would continue with what he described as works of searching; intricate and enigmatic mood pieces centering on disaffected, spiritually adrift characters suffering the emotional sickness of ennui, alienation, apathy and existential crises. And so it was that the day after the Cannes premiere, forty-odd artists from the festival, including Roberto Rossellini had written to Antonioni praising his daring. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. In its second half, “L’Avventura” all but abandons the missing girl—she drifts away like a foggy, forlorn memory—and then tracks her boyfriend Sandro (Gabriele Ferzetti) and best friend Claudia (Monica Vitti) as they eventually fall in love while initially searching in vain for their lost companion. Professione: reporter è un film di genere drammatico del 1974, diretto da Michelangelo Antonioni, con Jack Nicholson e Maria Schneider. With Antonioni’s [films], it’s the exact opposite.” Spartan widescreen images were always clear, but the meaning was constantly evolving even as the film ended. Spoiler warning This feature gives away the ending of the film; If it’s true that we take a particular interest in the culture of the era just before we were born then my enthusiasm for L’eclisse may be pre-determined. Sandro, Anna's boyfriend, and Claudia, Anna's friend, try … "[4] The Guardian described him as, "in essence, a director of extraordinary sequences," and advised viewers to "forget plotting, characters or dialogue, his import is conveyed in absolutely formal terms. I invented stories for them. Antonioni’s preoccupation with this cool, sometimes dispassionate “exquisite alienation” would often take a similar form; an austere but beautiful visual majesty, an architectural enormity that often oppressed the psychology of his characters within their environment (environment being everything to the filmmaker) and temps mort [dead time], those moments after the scene’s action really ends, when the camera’s gaze lingers, soaking up the inexpressible. Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. L'opera, la quinta del regista di Ferrara , ha riscosso un buon successo di critica tanto da essere premiata con il Leone d'argento alla 16ª Mostra internazionale d'arte cinematografica di Venezia . [3] Film historian Virginia Wright Wexman notes the slowness of his camera and the absence of frequent cuts, stating that "he forces our full attention by continuing the shot long after others would cut away. Continuando nella sua analisi del disfacimento della borghesia italiana, Antonioni compone il secondo capitolo della sua trilogia sull’incomunicabilità (“La notte”, “L’eclisse” e “Deserto rosso”) con la “musa” e allora compagna di vita Monica Vitti…. “Nothing happens, man; it’s just a lot of people going nowhere,” Mark Frechette, one of Antonioni’s actors, once said of his films. Chatman, Seymour Benjamin, and Paul Duncan. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. A young woman returns to her hometown of Turin to set up a new fashion salon and gets involved with a troubled woman and her three wealthy friends. Antonioni had made a mysterious, sparse and opaque film that would define the rest of his career—an unusual movie, like many others that would follow, where “nothing happens,” at least in the estimation of his harshest critics. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. "[26] Critic Roland Barthes wrote that Antonioni's art "consists in always leaving the road of meaning open and as if undecided," and claimed that his approach "is not that of a historian, a politician or a moralist, but rather that of a utopian whose perception is seeking to pinpoint the new world, because he is eager for this world and already wants to be part of it. You could say that Antonioni was looking directly at the mysteries of the soul. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. Uscito nel 1966 il film è il primo della trilogia americana del regista italiano. He was subsequently drafted into the army. Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. "[32], Italian film director and screenwriter (1912-2007). "[28], Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers. The poor still existed at that time, you recognized them by their clothes. With Eleonora Rossi Drago, Gabriele Ferzetti, Franco Fabrizi, Valentina Cortese. He was buried in his hometown of Ferrara on 2 August 2007. ", "From Acting to Directing, Cigars to Jazz, Actor Peter Weller Is a Man of Many Passions", Society of Motion Picture and Television Engineers, David di Donatello Award for Best Director, National Society of Film Critics Award for Best Director, https://en.wikipedia.org/w/index.php?title=Michelangelo_Antonioni&oldid=993059132, Centro Sperimentale di Cinematografia alumni, Short description is different from Wikidata, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Cannes Film Festival Jury Prize (1962), for, Cannes Film Festival 35th Anniversary Prize (1982), for, David di Donatello Luchino Visconti Award (1976), Giffoni Film Festival Golden Career Gryphon (1995), Italian National Syndicate of Film Journalists Silver Ribbon for Best Documentary (1950), for, Italian National Syndicate of Film Journalists Special Silver Ribbon (1951), for, Italian National Syndicate of Film Journalists Silver Ribbon for Best foreign film Director (1968), for, Kansas City Film Critics Circle Award for Best Director (1968), for, National Society of Film Critics Award for Best Director (2001), for, Valladolid International Film Festival FIPRESCI Prize for Short Film (2004), for, Venice Film Festival FIPRESCI Prize (1964), for, Venice Film Festival Career Golden Lion (1983), Venice Film Festival FIPRESCI Prize (1995), for, Venice Film Festival Pietro Bianchi Award (1998), This page was last edited on 8 December 2020, at 16:04. [20] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo).

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