She says "I wish I didn't love you or that I loved you much more." Simply because it is actually very un-romantic, if you catch my drift? L’eclisse. Un sentimento indecifrabile e indefinibile. Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. Premier volet d'une trilogie (La Nuit, 1961, et L'Éclipse, 1962), il imposa Antonioni comme un des grands maîtres de la modernité cinématographique. There are a whole range of other things that could be discussed about this but I think I will leave it at that. All Lydia’s character is shown to be a victim of Giovanni’s success (no real surprises there, she really is better off without him) and he provides very little response to her struggling mental state, instead focusing on himself and his future. He looks around and says "I feel like I'm in a foreign country." LA NOTTE, from 1961, is one of these, and I think it's the very best of them. At Cannes in 1960, the debacle over the showing of L’Avventura catapulted him into the international gaze. Giovanni is an accomplished novelist (i.e. Sometime later, Piero and Vittoria are lying on a hill looking up at the sky. He introduces himself to Vittoria; he is her mother's stock broker. La ressortie concomitante en salles, cette semaine, de La Nuit (1961) et de L’Éclipse [1] Qui fait également l’objet d’une édition en Blu-Ray. The breadth of the film incorporates a series of events that lead to this less than dramatic, and expected, disintegration, ending at a high class soiree that night. This is my blog based on the films I have seen. Back in her apartment, Riccardo calls for her, but she hides and doesn't answer. Known as the trilogy of ‘modernity and its discontents’, L’Avventura (1960), La Notte (1961) and L’Eclisse (1962) saw the rise to infamy for Antonioni, who by then was in his late 40s. But Vittoria is more elusive than that. L’Avventura is worth the effort! Moreau, Mastrianni and Vitti (and a bottle of vodka) in La Notte (1961). Perhaps the most notable resurrection of all is that of L’eclisse (1962), the stunning third part of the trilogy that includes L’avventura (1960) and La notte. I say this facetiously of course, because when we consider the sexual abuse (Bernardo Bertolucci in Last Tango in Paris), the harassment (Casey Affleck) and the creepy demands (Blue is the Warmest Colour) that male directors have inflicted upon female actors on film sets over time, then this type of stuff becomes easily more intolerable. When he meets Vittoria again, who he is besotted with since their first encounter, his sports car is stolen and both of them discover it later having crashed off the road with the car-jacker dead beside it. Well now, where do you start with that? ( Log Out /  The sky grows dark, and the streetlights come on. The H.W. With Vittorio De Sica and Roberto Rossellini in the 30s, 40s and 50s, Federico Fellini in the 50s and 60s and Pier Paolo Pasolini in the 60s and 70s (let’s not forget Luchino Visconti too), the countless bodies of Italian-made and Italian-based masterworks has been seismic on the movie world. Some critics went as far to say that it was the greatest and most important film ever made. the world itself – a world full of listless and flawed human beings. Si tratta del primo capitolo della “trilogia dell’incomunicabilità”, presentato in concorso al 13° Festival di Cannes, fischiato dal pubblico ma vincitore del “premio della giuria”, per il tentativo di sviluppare un nuovo linguaggio cinematografico e per la bellezza delle immagini. He had honed his trait as a writer and assistant director during the neo-realist movement (spear-headed by Rossellini and Visconti) in the 1940s, before he himself directed a series of short films and documentaries. Vitti however tries to bring Giovanni and Lydia back together by speaking sense to them both. In France, the film had 470,764 admissions. If anything, and setting the personal backdrop to this, at least Antonioni was aware of the imbalance of sexual politics and he did effectively try to instill this in his work. L'Eclisse (1963) Director: Michelangelo Antonioni Actors: Monica Vitti, Alain Delon, Francisco Rabal Synopsis: Over a series of weeks in Rome, a young woman, Vittoria (Monica Vitti), ends one relationship, then slowly becomes involved in another - with a buccaneering stockbroker, Piero (Alain Delon). Their work are presented as challenges rather than as entertainment and I know this will likely cause sizable portions of film goers sprinting for the exits. Sex sells, people! Lisi dubbed L'Eclisse "beautifully made, historically important, and boring as hell. 2 years ago. A partire dagli anni ’60, grazie alla trilogia composta da L’avventura (1960), La notte (1961) e L’eclisse (1962), il regista ottiene un successo internazionale e viene riconosciuto come il creatore di un linguaggio cinematografico unico, dove la telecamera tende ad […] di Paolo Saporito. Perhaps the most notable resurrection of all is that of L’eclisse (1962), the stunning third part of the trilogy that includes L’avventura (1960) and La notte. La notte. Additionally, in my opinion, L’Avventura‘s understated power has never been surpassed. A young stockbroker, Piero (Alain Delon), overhears an inside tip, rushes to purchase the stocks, and then sells them at a large profit. L'avventura est un film franco-italien de Michelangelo Antonioni, sorti en 1960. Change ), You are commenting using your Google account. I have never watched any of these. But more than that, Antonioni weaves an unsettling and real atmosphere, also capturing in all its beauty the Sicilian coast in a faded black and white cinematography. ( Log Out /  Ever since my classes for film studies in university, I have seen many of these great directors’ works: I was taken in by De Sica’s inspiring tale from 1948 of working class struggles in Ladri di biciclette (Bicycle Thieves). It is never clear. When they reach her building, he kisses her, but she seems uneasy. They walk past a nurse wheeling a young girl in a baby carriage. Vitti says it as it is in L’Eclisse (1962). L’avventura, La notte, L’eclisse e Deserto rosso: la modernità come malattia (1960-64) “Chissà se c’è, nel mondo, un posto in cui si va a stare meglio. When an alarm goes off, they prepare to part. Giovanni Fusco / Giorgio Gaslini – Antonioni Suoni Del Silenzio (L'Avventura / La Notte / L'Eclisse / Il Deserto Rosso) (Complete Original Motion Picture Soundtracks) Label: Quartet Records ‎– QR192, Quartet Records ‎– QR192/1, Quartet Records ‎– QR192/2, Quartet Records ‎– QR192/3, Quartet Records ‎– QR192/4 Giovanni). Michelangelo Antonioni invented a new film grammar with this masterwork. This romantic drama by Michelangelo Antonioni follows the love life of Vittoria, a beautiful literary translator living in Rome. Regular contributors Alan Matthews, Robin Stevens, and newcomer Annabelle Davis are also very passionate about film and you will find many of their entertaining posts on this blog. Meanwhile, back at the Rome Stock Exchange, Piero is busy making trades. They enjoy a playful walk through a park. Da Wikipedia, l'enciclopedia libera. With Claudia in particular, there is a helplessness – she becomes less and less human after her friend leaves proceedings, as if there is no point for her in finding out. This indeed prompts a interpretation of L’Avventura as a pessimistic and cynical outlook on the world. L’eclisse appeared in the 1980s on VHS, but has until fairly recently been available only on unwatchable bootlegged versions. Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his … Michelangelo Antonioni, Tonino Guerra, Elio Bartolini, and Ottiero Ottieri (writers), Michelangel Antonioni (director) L‘Eclisse (Eclipse) / 1962 If watching Antonioni’s great films L’Avventura (see My Year 2007 ) and La Notte did not make it clear, then Eclipse of 1962 certainly reiterates that this director’s films are not at all about narrative fiction. L'avventura is een Italiaanse dramafilm uit 1960 onder regie van Michelangelo Antonioni.De film debuteerde op het Filmfestival van Cannes waar hij een Speciale Juryprijs kreeg toegekend.L'Avventura is het eerste deel van Antonioni's losse trilogie over vervreemding waartoe ook La notte (1961) en L'eclisse (1962) behoren. What Antonioni did best was probe towards previously impenetrable depths in his films. Deciding not to go with her, Piero drives to Vittoria's apartment and stands outside her window. As indicated above though, nothing is ever clear in Antonioni’s conclusions. There is no high significance applied to anything by Antonioni. [6], It is today considered one of Antonioni's more important works. It’s a cesspit of frenzied Appearing in Antonioni's body of work between two similar films that are often considered a trilogy, LA NOTTE has often got less buzz than its predecessor L'AVVENTURA, with its daring plot twist, or its successor L'ECLISSE with its chic Monica Vitti-Alain Delon love affair. Try Prime EN Hello, Sign in Account & Lists Sign in Account & Lists Orders Try Prime Cart. After he accidentally tears her dress, she goes into a bedroom and looks at the old family pictures. "Collaboratori alle sceneggiature: Le amiche, Suso Cecchi D'Amico e Alba De Cespedes; Il grido, Elio Bartolini e Ennio De Concini; L'avventura, Elio Bartolini e Tonino Guerra; La notte, Ennio Flaiano e Tonino Guerra; L'eclisse, Tonino Guerra e Elio Bartolini; Deserto rosso, Tonino Guerra." Exchange is especially powerful single day, sees his marriage to Lydia disintegrate towards the grave bottle of vodka in..., the concept of Sandro as the heroine the fencing in the of! 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