Monica Vitti | Revolvy
Michelangelo Antonioni, the Italian director whose chilly depictions of Vitti observes, “Each time I have tried to communicate with someone, love has disappeared.” . In , his year marriage to the former Letizia Balboni fell apart. the characters he created and about whom he wanted my advice. The title of the movie stands as a metaphor for "an end to a relationship". . in bourgeois "alienation", the breakdown of a marriage and a dazzling Monica Vitti. Today's posting is the second part of an assessment of Antonioni written in response Apart from Anna's friend Claudia (Monica Vitti) and Sandro, the other His relationship with Claudia is complex and, like the film itself, has an . existing social order, is valuable advice for any filmmaker and artist today.
She played a leading role in his internationally praised and award winning film L'avventuraas a detached and cool protagonist drifting into a relationship with the lover of her missing girlfriend.
Giving a screen presence which has been described as "stunning", she is also credited with helping Antonioni raise money for the production and sticking with him through daunting location shooting.
L'avventura made Vitti an international star and one of Italy's most famous actresses of the 20th century. Her image later appeared on an Italian postage stamp commemorating the film. After her relationship with Antonioni ended, the two did not work together again until Il mistero di Oberwald Vitti made only two English language films. The first was Modesty Blaisea mod James Bond spy spoof with Terence Stamp and Dirk Bogardewhich had only mixed success and received harsh critical reviews.
Inshe made Polvere di stelledirected by Alberto Sordifor which she won the David di Donatello award for Best Actress. This is often considered her last great film. In the later s and early s, Vitti appeared mostly in Italian films which did not gain international distribution. Il mistero di Oberwaldthe last collaboration between Vitti and Antonioni, is not as well known as L'Avventura.
After that movie, Vitti did not do as much screen work. A stint helping write Un Pilota ritorna Roberto Rossellini, led to the signing of a contract with the production company Scalera.
Shot inGente del Po was not released until after the war in In the interim, the bulk of the footage was lost through degradation, accident, and, possibly, deliberate tampering. Still, he displayed an early resilience and determination to complete the film, a trait that would resurface on numerous occasions in the future. In the next few years, Antonioni continued to write criticism and screenplays, translated French literature, and made several more documentaries.
On the strength of his documentaries, Antonioni secured financing from Vallani Film to make his first fictional feature in Milan. The narrational structure of a search with competing urges of desire and death surfaces in Cronaca di un amore Antonioni will consistently return to this structure in his later works.
Their wish for the destruction of an intervening third-party twice comes true but on each occasion something unidentifiable is also lost between them. All that remains is an individual, separated existence. An immediate, violent, desire-quenching version of the wish-device occurs, imaginarily, at the end of Zabriskie Point .
Cronaca is suggestive of film noir, 4 but Antonioni sidesteps traditional plot conventions to focus on the interior feelings of the lovers. He utilises a mobile camera, composes roomy frames, and follows the performers in deep-focus long takes. Key dialogue is highlighted by centrality, symbolism, frontality, unexpected movement, and cutting: As in Cronaca, the relatively poor female protagonist of La Signora senza camelie is thrust into a wealthy environment.
From shop assistant to star B-grade actress, she is beset by the demands and advice of men. Her ultimate failure is an inability to control her own life. I Vintia trio of separate stories set in Paris, Rome, and London, was shot before Camelie but released at least seven months later.
Reconstructing the space evacuated by motive, Antonioni positions characters with respect to their environments, foregrounds landscape and experiments with independent camera movement. His next work is a complex example. Tentato suicidio is staged amid artifice but presents a range of stories about attempted suicide that purport to truth. Four of the stories are reconstructed and their non-fictional guises come under threat from the fictional probing of the cinematic stylistic system.
Another attempted suicide begins Le Amiche, linking two stories that are in medias res. Clelia Eleanora Rossi Drago is returning to a displaced past, while Rosetta Madeleine Fischer is unable to foresee a romantically successful future.
La Notte () - IMDb
Their lives are influenced — hindered more than assisted — by an ensemble of social friends. The interaction between all players is handled at a deliberate slow pace, with space carefully constructed to suggest what has previously happened and to convey internal group dynamics. The second story is perhaps the most interesting, unravelling in parts that effect change on the first. How Antonioni dramatises the differences in the two stories is largely reinforced by a flux of inclusions and exclusions in his staging.
The scene on the beach is an often cited example. There are teasing set-ups which briefly single out someone else, but a track or pan finds others. A single insert shot in the scene depicts a drawing of Rosetta by Lorenzo Gabriele Ferzettithe object of her affections.
Clelia, on the other hand, is always framed side-by-side with another. At the pivotal moment of the scene, a cut suddenly reveals the two of them standing together. There is a return to the use of a mobile camera paired with analytical cutting including some reverse shots to serve the interests of dialogue.
Even the longer shots at least three are just over a minute long concern arguments between Aldo and women. Dank, gaslit interiors are tight spaces forced by the staging into a moderate depth. The result is an effect of oppression from which Aldo always tries to escape. But when he surges outside, the land is such a contrast that it too is threatening.
Michelangelo Antonioni • Great Director profile
Antonioni generally maintains a high horizon line, emphasising the flatness and desolation of the background. When he sends Rosina home on a bus, the element of pathos generates a strange and rare Antonioni moment. It is an interesting opposition to the awkward attention seeking of Valerio Valerio Bartoleschi in Il Deserto rosso It is with these films that Antonioni became a famous, critically esteemed, and even popular filmmaker. Concurrent with a boom period in the Italian industry and a re-vitalisation of European cinema in general, Antonioni was suddenly reflective of a massive change in film culture that he had really been progressing towards for the last decade.
The critical discussion of these films is so extensive that I will forego summarising them here. These kinds of independent, wandering, investigative techniques are dominant traits in Il Deserto rosso, Blow-UpZabriskie Point and The Passenger However, there is expansive conjecture regarding their purposes and effects.
For his first colour film, Il Deserto rosso, Antonioni further abstracted reality. Effects trick the eye: He implements a faster, sometimes disorienting, cutting style and emphasises the aural qualities of industry. Aside from being his biggest commercial success, Blow-Up is a highly valued critical commodity that has drawn the interest of an astounding range of commentators.
The reasons for such a deluge are somewhat unclear. Other films are, for instance, self-reflexive, conducive to subject theories, or consciously explore how reality and meaning are constructed. Nevertheless, Blow-Up continues to attract various emergent criticism. When Antonioni went to make a film in America, he decided to make a film about America.