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I film di Antonioni che ho visto: Gente del Po (1947, documentario) *** Cronaca di un … 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. “Nothing happens, man; it’s just a lot of people going nowhere,” Mark Frechette, one of Antonioni’s actors, once said of his films. 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. Distribuito da DINO DE LAURENTIIS - … Antonioni è stato spesso criticato per una certa presunzione mostrata nella realizzazione di questo film: per un verso nel merito dei temi trattati, per la spavalderia e il pragmatismo con cui li ha risolti; per l’altro verso è stata sottolineata la distanza tra le origini provinciali del regista e la grandeur dell’ambientazione e della storia. The line and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni È l'ultimo film in bianco e nero girato da Antonioni; dopo due anni il regista volterà pagina girando Deserto rosso. Michelangelo Antonioni Cavaliere di Gran Croce OMRI (/ænˌtoʊniˈoʊni/, Italian: [mikeˈlandʒelo antoˈnjoːni]; 29 September 1912 – 30 July 2007) was an Italian film director, screenwriter, editor, painter, and short story author. Il grido è un film di genere drammatico del 1957, diretto da Michelangelo Antonioni, con Alida Valli e Steve Cochran. "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. However, its release was a critical and commercial disaster. 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. "[4] The New Yorker wrote that "Antonioni captured a new bourgeois society that shifted from physical to intellectual creation, from matter to abstraction, from things to images, and the crisis of personal identity and self-recognition that resulted," calling his 1960s collaborations with Monica Vitti "a crucial moment in the creation of cinematic modernism. Le amiche è un film del 1955 diretto da Michelangelo Antonioni, liberamente tratto dal romanzo Tra donne sole di Cesare Pavese. Durata 125 minuti. 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). Consigli per la visione +16. 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. "[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. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. Here’s what we said about it at the time Published: 16 Mar 2017 Months later, the statuette was stolen by burglars and had to be replaced. 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? Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. Durata 140 min. We have been capable of all this, but we have not been capable of finding new ones. In the end actions are never judged; this is not about consequences. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. 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. 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. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. 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". Uscito nel 1966 il film è il primo della trilogia americana del regista italiano. 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. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. La Notte is thus something of Antonioni’s update of Roberto Rossellini’s Journey to Italy from 1954. Il primo dei film che andremo ad analizzare è L’avventura, del 1960. Durata 102 minuti. My mother ... was a warm and intelligent woman who had been a laborer in her youth. I was born in the mid-1960s, only a couple of months after Michelangelo Antonioni had completed a cycle of four films which made waves in the international film scene. Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. 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. Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. ", Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them. I met Antonioni three years ago in Taormina at a film festival. "[23] In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by, "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness [...] We have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. 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. 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The publicity for the film made much play with the way Antonioni had instructed his art director, Piero Poletto, in certain sequences, to apply coverings of paint to the living landscape, and to certain objects (like the displayed fruit on the cart); yet the contemporary viewer, half a century later, is struck by how little the film’s total aesthetic effect seems to owe to such overt stylization. "[32], Italian film director and screenwriter (1912-2007). Directed by Michelangelo Antonioni. 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. [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. However, Antonioni was fired a few months afterward. 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. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." Yet the film is not a condemnation of their putatively shallow behavior—instead it’s an exploration of the inexplicable nature of love, moral ambivalence, and fragility of modern behavior. One of my favorite games consisted of organizing towns. 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. "[2] Stephen Dalton of the British Film Institute described Antonioni's influential visual hallmarks as "extremely long takes, striking modern architecture, painterly use of colour, [and] tiny human figures adrift in empty landscapes," noting similarities to the "empty urban dreamscapes" of surrealist painter Giorgio de Chirico. A product of European post-war cinema, Antonioni was described as a modernist in that he dared to push cinematic language forward, but he also attempted to express anachronistic morals and emotions (he sympathizes with the lovers in “L’Avventura” even if by the codes of modern society, they are backstabbers). Curiously enough, our friends were invariably proletarian, and poor. [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. My father also was a good man. While he had made five previous movies, 1957’s “ Il Grido ” being the most essential of the bunch, Italian filmmaker Michelangelo Antonioni ’s career didn’t really begin in earnest until a May 1960 evening at the Cannes Film Festival where his latest film, “ L’Avventura,” was met with boos, exaggerated yawns, loud jeers, and even derisive laughter. Chatman, Seymour Benjamin, and Paul Duncan. 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. The short film's episodes are framed by dreamy paintings and the song "Michelangelo … Penso che quelli su Antonioni siano i miei appunti più inutili in assoluto, sarebbe meglio dimenticarseli e andare subito a guardare i film, ma ormai li ho messi in fila, il lavoro è fatto, eccoli qui. Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition.

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