L'Eclisse (Michelangelo Antonioni, Italy, 1962)

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L'Eclisse (Michelangelo Antonioni, Italy, 1962)

Postby MikLosk » Mon Nov 06, 2006 9:36 am

Despite her name, nervous and restless Vittoria (Monica Vitti) suffers a one for one repulse in her private life experiencing again "problem of uncommunicativeness" in economically stabilized society that made Antonioni one of the foremost directors of 1960's. This is maybe the whole synopsis of this almost plotless movie.

Episodes in the exchange are really impressive: fussy motions of people in the bounded room emphasizes their inner frivolousness. Every man tries to fill his life with drastic action, to attach a meaning to it. Everyone wants to be someone, not to seem to be. They fondly believe that they rule the world. In reality they're only "puppets", and the exchange is only outward appearence of the economics regulator. It seems that some Fate rules people's destinies and social alternations.

In the episode in Marta's apartment it seems to us that Vittoria's dream about other - wild, uncivilized, prehistoric - life fulfills: she changes her face, dresses up in african exotic clothes, transforms into absolutely other woman, forgets about herself. But soon Vittoria understand that it can be extremely boring in Kenia too. Emptiness (this word could be an alternative title of the film I believe) fills human's soul. Nobody can be saved from this all-embracing emptiness. The whole world becomes unreal and illusory, but you cannot escape. Dreadfully deserted, lifeless landscape of the night city seems to be a fantastic world. This landscape is an exact projection of Vittoria's subconsciousness. And deathly light of a street lamp in the last shot completes sensation of anxiety and despair. And I should say that the ending of the movie is one of the most impressive ones I've ever seen.

A couple of words about cinematography - wonderful b&w! Gianni di Venanzo is undoubtedly one of the greatest cinematographers ever. He could understand different directors' styles (from Francesco Rosi to Federico Fellini). And this time he succeeded in realization of Antonioni's principle of romantic realism. It means that every moment is significant and unique. The beauty is in the eye of the beholder. Antonioni's camera attach a significance (and therefore a beauty) to every moment. 10/10

Re: L'Eclisse (Michelangelo Antonioni, Italy, 1962)

Postby A » Wed Nov 15, 2006 8:21 pm

Heh, nice comments on one of my favorite directors.
I absolutely agree with the statement that in most Antonioni every shot has also a significance in itself. That's why I love him so much, though I've only seen few of his films.
Hope to enjoy L'eclisse and more of his B&W films sometime in the future.

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