Lascia un commento Annulla risposta. Why then, did Antonioni film it? In reality, nothing much happens. In the 1962 masterwork of Dino Risi, Il sorpasso, the main character, Bruno, played by Vittorio Gassman--a kind of narcissistic second cousin of L’eclisse’s main character, Piero, played by Alain Delon--asks the young, ingenuous law student, Roberto, played by Jean-Louis Trintignant:  “L’hai visto L’eclisse? Dopo un lungo apprendistato come critico, sceneggiatore e aiuto-regista, realizza alcuni documentari che lo segnalano all'attenzione della critica ed esordisce con Cronaca di un amore (1950, Nastro d'argento), film che segna la fine del neorealismo e la nascita di una nuova stagione del cinema italiano. È il capitolo conclusivo della cosiddetta "trilogia esistenziale" o "dell'incomunicabilità", segue L'avventura e La notte. Time has done little to alter this situation. In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. And I am excited by these themes, day and night. Peter Brunette in his study of Antonioni appears to touch upon this important aspect of Antonioni’s films when he writes, “. 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. Vittoria is fascinated by the sound of the fencing in the wind. . (Acronym for “Esposizione Universale Roma,” a modern quarter of southern Rome where Antonioni had himself briefly worked in the late1930’s; pronounced in Italian as two syllables, “Ā'OOR”; long “Ā”; “OOR” as in the English word, “your,” without the “y”. The 22-minute “Elements Of Landscape” is a visual essay featuring critic Adriano Aprà and Antonioni friend Carlo di Carlo that gets into his stylistic architecture while sprinkling in some context, too, like the fact that audiences resisted L’Eclisse everywhere but Japan, where it … One must be inquisitive, open, actively engaged, and preferably have suffered a bit in love, which means that most viewers will come to Antonioni’s film with at least the latter life experience already in their résumé. The next morning, Piero and Vittoria arrive at the crash site where the drunk drove the car into a lake. When an alarm goes off, they prepare to part. L'eclisse si caratterizza per essere un film sulla crisi dei sentimenti, come tipico della nouvelle vague. Sometime later, Vittoria visits her mother (Lilla Brignone) at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. Instead, with Antonioni we are presented with a series of tableaux that are only superficially related in terms of raw plot. Another man lost 50 million. The narrative trajectory is conventional in many ways. The H.W. One reason that might in part explain the homogeneity of Antonioni’s films, as well as the recurrence of certain patterns, is the relatively restricted range of his cinema. In piena crescita economica, la città, con i suoi luoghi e le sue architetture, fa da sfondo alla storia tra i due protagonisti. Back in her apartment, Riccardo calls for her, but she hides and doesn't answer. "[18] Conversely, Susan Doll wrote that if Antonioni's works are "out of vogue with movie goers captivated by postmodern irony and fast-paced editing, [...] we are the worse for it. Le amiche, Il grido, L'avventura, La notte, L'eclisse, Deserto rosso (1964). The conversation turns sour as Marta, a colonialist, worries about "monkeys" arming themselves and threatening the minority whites. *  In this regard, analyzing an Antonioni film is vaguely analogous to psychoanalysis: one does not accept things at face value, true meaning often being latent. Proveniente da una famiglia medio-borghese, durante gli studi in economia e commercio animò un gruppo teatrale, fondò un circolo letterario con Giorgio Bassani e Lanfranco Caretti e si avvicinò al cinema collaborando come critico al "Corriere padano". . And yet, this film is often viewed as problematic and abstract, among the more difficult of Antonioni’s films. She shows him framed family pictures and her room growing up. This is true, if only because life itself--however chaotic its surface--has its patterns. Simply put, an Antonioni film requires interpretation or “translation.”  One must be continually on the lookout for where the real “action” takes place, which is always on the level of the thematic and intellectual. Per Umberto Eco, con L’avventura eLa notte, … L'ECLISSE (IT/FR, 1962) di MICHELANGELO ANTONIONI. This may be true insofar as I believe that L'eclisse is never destined to become a particularly popular film. The richness of an Antonioni film is such that a single viewing is generally never sufficient to “see” the film. Questo getta un ombra sul loro rapporto che si sfalda. L’avventura viene inserito con La notte e L’eclisse in una sorta di ‘trilogia esistenziale’ in cui assenza e incapacità di ‘spiegare’ la propria interiorità diventano cifra distintiva e nucleo tematico. "1962. If one does not deliberately attempt to comprehend the film, the film becomes incomprehensible, or worse yet, boring (“Antoniennui”), two accusations commonly leveled at Antonioni. . Take, for example, the breaking of the ashtray in the opening scene of L'eclisse, or its atavist in L’avventura, the breaking of the ancient amphora by Raimondo. They enjoy a playful walk through a park. After he accidentally tears her dress, she goes into a bedroom and looks at the old family pictures. Dopo una burrascosa fase di produzione, Antonioni presentò a Cannes, nel 1960, il suo L’avventura. Sometime later, Piero and Vittoria are lying on a hill looking up at the sky. Antonioni, a good director, but that movie, it put me to sleep. . Likewise, film criticism of L'eclisse is relatively scanty compared to other films of Antonioni’s mature period. In La notte, Michelangelo Antonioni presenta la sua lucida, essenziale analisi di tre fondamentali problemi borghesi. Se ha hablado de La Noche (La Notte, 1961) de Michelangelo Antonioni como una película sobre la incomunicación, es más, como parte de una serie de indagaciones sobre los desencuentros entre hombres y mujeres y sus roces sentimentales, junto a las clásicas L’Eclisse (1962) y L’Avventura (1959). But then maybe they shouldn't fall in love at all." And what are we to make of the broken guitar of Blow-Up? That evening, Vittoria's neighbor Anita (Rosanna Rory) comes to visit and they discuss the former's breakup. There are other strong and curious resonances between Il sorpasso and L’eclisse, not the least of which is that the Bruno/Gassman character of Il sorpasso poses the above question while driving a white convertible Lancia Aurelia Sport, which like the Alfa spyder of L’eclisse, will be transformed from a flashy sports car into a hearse. On the way, Vittoria is fascinated by the clouds. Vittoria arrives at the Stock Exchange and learns that her mother lost about 10 million lire. As they talk, she seems nervous and unwilling to open up to him: "Two people shouldn't know each other too well if they want to fall in love. While they are talking, the drunk steals Piero's sportscar. [6], It is today considered one of Antonioni's more important works. For such predominantly male characters, not being able to see is akin to another kind of blindness, that of not being able to comprehend. "It's so nice here," she tells Anita. In this regard, scenes may appear digressive, arbitrary, and inexplicable. The film retains a formal playfulness, with its open form offering different ways of watching and projecting onto the characters [...] and the overall atmosphere of ennui, so beautifully constructed through sound and image, still feels heavily familiar. As she walks the deserted early-morning streets past the EUR water tower, Riccardo catches up and walks with her through a wooded area to her apartment building, where they say their final goodbyes. . Not to be confused with the “euro” (€), the present common currency of 13 European nations. *  I write this with a smile on my lips insofar as I wonder if  there are only thirty six people on the planet Earth--perhaps limited to the Tzadikim Nistarim--who when given a chance and a guidebook such as this book that I have written, will agree with this assessment. . Then he breaks it into pieces and makes it again.”). In fact, Il sorpasso--an ostensible comedy--is as infused with Death as is L'eclisse or Rossellini’s Viaggio in Italia, the latter film itself a reworking of Joyce’s “The Dead.”, L'eclisse consists of a series of loosely linked episodes. L'Eclisse (English: "The Eclipse") is a 1962 Italian drama film written and directed by Michelangelo Antonioni and starring Alain Delon and Monica Vitti.Filmed on location in Rome and Verona, the story follows a young woman (Vitti) who pursues an affair with a confident young stockbroker (Delon). Meanwhile, back at the Rome Stock Exchange, Piero is busy making trades. [9] Curiously, not a single, major film of Antonioni takes place entirely within the confines of a single city. La manifestazione più evidente di questa distruzione della sfera relazionale deriva dal parallelismo col capitalismo che aleggia per tutto il film con le varie scene riguardanti la borsa: il denaro alienante sta facendo eclissare l'uomo. Vittoria, a “mere” translator, is clearly less educated than Riccardo, but more in tune with the divine oscillations of the universe than the cultured, leftist intellectual who is her employer and lover. . Nel 1939 si trasferì a Roma, dove frequentò per alcuni mesi il Centro sperimentale di cinematografia ed entrò nella redazione di "Cinema". When they reach her building, Vittoria unties a balloon from a carriage and calling to her new friend Marta tells her to shoot the balloon with her rifle (Marta previously having shot rhinoceros and elephants in Kenya), which she does as it ascends into the sky. [2] The film is considered the last part of a trilogy, and is preceded by L'Avventura (1960) and La Notte (1961).[3][4][5]. bibliografia. C’ha un Flaminia Zagato, una volta sulla Fettuccia di Terracina m’ha fatto allunga’ il collo!” / “Have you seen L’eclisse? "[12] L'Eclisse won the Special Jury Prize at the festival and was nominated for the Palme d'Or (Golden Palm). Fragmenting time and space, the Italian master created a potent new language for storytelling, and in … "[13], The final sequence is especially praised, with Jonathan Rosenbaum[14] and others regarding it as one of the more effective scenes in Antonioni's oeuvre. After all, the film is European, is 45 years old, is in black and white, has subtitles, and features actors who are not household names in the United States. A young stockbroker, Piero (Alain Delon), overhears an inside tip, rushes to purchase the stocks, and then sells them at a large profit. )*. Marta, unamused, asks her to stop. David Sin wrote "The intervening years appear not to have diminished its impact as an innovative work of cinema, nor as a wider critique of the age in which we live. Before she leaves, she drops a piece of wood into a barrel of water. Vittoria says she is depressed, disgusted, and confused. As will be shown later, to the model, Verushka of Blow-Up, London and Paris are somehow the same. *, the present common currency of 13 European nations. "Modern love is rubbish: Antonioni's L'eclisse", "L'Eclisse review – Antonioni's strange and brilliant film rereleased", https://en.wikipedia.org/w/index.php?title=L%27Eclisse&oldid=994985836, Films produced by Robert and Raymond Hakim, Articles containing explicitly cited English-language text, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 18 December 2020, at 16:07. Scenes occur because they embody thematic concerns, not because they are part of a plot per se. They walk past a nurse wheeling a young girl in a baby carriage. Credentials are not required for admission; the right high school drop-out with a native intelligence, good eyesight, and street smarts might do as well, or better, than a highly titled intellectual with an impressive curriculum vitae who is utterly blind. The density, however, is of a different kind than that of Joyce’s Ulysses, a work that is also remarkably dense, but saturated with allusions. URL consultato il 18 ottobre 2018 . 1987. p. 65. Vittoria watches as they pull the car with the body from the water. Antonioni rompe con el neorrealismo sin abandonar el humanismo, sólo que este nuevo humanismo fílmico es bastante menos moralizante que el anterior, su lenguaje crítico es menos evidente, su origen burgués y acomodado ataca... Continua la lectura Even among American university cinema majors their knowledge of Antonioni may be limited to having heard of Blow-Up or L’avventura, if that. L’eclisse, 1962; Deserto rosso ... Antonioni, anni dopo, ribadirà egli stesso la sua diversità e la sua unicità e cioè «di aver imboccato da solo la strada del neorealismo». A vase mysteriously appears twice in Ozu’s sublime Late Spring (“Banshu” [1949]), unbroken, an affirmation of the human condition, of existence, as opposed to Antonioni’s lifelong attempt at effacing the world and its beings, Antonioni’s abiding apocalyptic vision. *  In addition to these narrative and other descriptors there are also certain stylistic features present in almost all of the films, examples being Antonioni’s long takes, a general avoidance of all things theatrical (preferring, for example, naturalistic settings as opposed to sets), frequent violation of standard cinematographic rules such as the “180 degree rule,” avoidance of standard cinematic techniques such as shot-countershot, lack of exposition, frequent use of ellipses in scene transitions, the meticulous habit of carefully “framing” characters in a particular, “Euclidean” manner with their environment (characters often in profile at 90 degrees with one another), recurrent employ of favored images and motifs such as window grills, reluctance to employ commentative music, preference for exotic, often aquatic-themed location shooting, tangential, apparently unmotivated scenes interrupting continuity, frequent casting of Monica Vitti, and many others. The opening scene concerns the breakup of Vittoria and Riccardo. Piero takes her to his parents' apartment, which is filled with beautiful works of art and sculpture. A. è autore, oltre che di racconti, anche di saggi come la raccolta a cura di C. Di Carlo e G. Tinazzi Fare un film è per me vivere ‒ Scritti sul cinema (1994). [16], Nevertheless, disapproval of the work has occasionally been voiced. as if Antonioni had made only one film instead of many (reminiscent of the observation by Jean Renoir that “A director makes only one movie. The irony here is that the narcissism and lack of insight of both Piero and Bruno prevent them from truly recognizing themselves in a mirror or, in the case of Bruno, from recognizing himself as the character Piero in another film, L’eclisse. "[12] Peter Bradshaw of The Guardian called the film "visionary" and argued, "Antonioni opens up a sinkhole of existential dismay in the Roman streets and asks us to drop down into it. This aspect can deny usual viewer expectations in which one scene is meant to build upon another, in which narrative hills and valleys occur. This leads once again to the impression that we are watching a drama of forms [Brunette’s italics] as much as a drama of people.”, Brunette also uses the adjective, “permeable,” to describe the boundaries that in general exist between the individual films of an auteur. . Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. L'Eclisse (English: "The Eclipse") is a 1962 Italian drama film written and directed by Michelangelo Antonioni and starring Alain Delon and Monica Vitti. Vittoria follows the man through the crowded streets to a small cafe, where she sees him drawing flowers on a small piece of paper and drinking mineral water before moving on. The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte), L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). Indeed, the film is even less well known today than it was at the time of its release. She says "I wish I didn't love you or that I loved you much more." She asks to go to his place. Riccardo tries to persuade her to stay, but she tells him she no longer loves him and leaves. 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…. They agree to meet that evening at 8 pm at the "usual place" near her apartment. After work outside his office, Piero meets with a call girl he previously arranged to meet, but is disappointed that she recently changed her hair color from blonde to brunette. (Acceptable substitutes for the word “theme” might be form [à la Brunette], motif, pattern, organizing principle, trait, or even issue or concern.) Attraverso i suoi film egli ci ha dato questo suo verso e soltanto questo.” ([Antonioni] is like certain solitary birds that have but one song, a tune they sing all day and night. Or, alternatively, employing the International Phonetic Alphabet:  ['eʊər]. [10], While Antonioni's earlier film L'Avventura had been derided upon its 1960 premiere, it was quickly reevaluated to the extent that L'Eclisse became "the most eagerly awaited film of the 1962 Cannes Film Festival";[11] critics had begun to believe that Antonioni's approach "was perhaps one way forward for an artform that was in danger of endlessly repeating itself. All of this may seem surprising when one considers that--at least for Western Europeans--the film stars two giants of European cinema and concerns love, violence, and money. We are, as it were, back where we started, the circle closed. Gelo improvviso. In France, the film had 470,764 admissions. However, even if this were not the case, a work of art that is true to life may still yield itself to a close thematic analysis. Leggi la scheda film completa. Marquee of Cinema Mignon, Milan12 April 1962, Italian premiere of  L'eclisse with Monica Vitta illuminated by light,surrounded by a crowd of mostly men, including—to her left—Michelangelo Antonioni What light is light, if Monica be not seen? Thus, there is no one particular film that I would like to make; there is one for every single theme I perceive. The Cinema Mignon was subsequently chopped up into a “multiplex theatre” in 1999, renamed the “Excelsior,” which in turn was closed in 2007.  L'eclisse was itself sliced and diced from its very release, being 125 minutes long in Italy and 130 minutes in Cannes (The American Film Institute Catalog: Feature Films, 1961-1970, Part 2, [page 296]). Or, as in the case of David Locke of The Passenger, how to be? Biografie. All'inizio degli anni Quaranta, collaborò alla sceneggiatura di Un pilota ritorna (1942) di Roberto Rossellini e lavorò come ai… In his films he has sung to us but this one song.”). Tone and viewpoint are invariably neutral, the creator distanced from his carefully wrought creation. Such a lack of “outsight” is a grave sin of many of the characters in the films of Antonioni. Director Martin Scorsese, in his documentary about Italian films titled My Voyage to Italy, describes how the film haunted and inspired him as a young moviegoer, noting it seemed to him a "step forward in storytelling" and "felt less like a story and more like a poem." *  No gratuitous events occur, for even the smallest action bears thematic import. how crazy was I to shoot the end of L'eclisse?” (“. )*, The Wasteland I saw with my own eyes the Sibyl at Cumae hanging in a cage, and when the boys said to her: “Sibyl, what do you want?” she answered: “I want to die.”. This book is an attempt to identify those themes which characterize L'eclisse and to identify such themes in other films by Antonioni. The objects and people that populate Antonioni’s Rome are less specific and more generic. *  The secret for great filmmaking is perhaps knowing what to point the camera at. All one has to do is to keep one’s eyes open:  everything becomes full of meaning; everything cries out to be interpreted, reproduced. L’eclisse appeared in the 1980s on VHS, but has until fairly recently been available only on unwatchable bootlegged versions. Retrieved 20 January 2007  from: ). Eclipse (originally L'Eclisse), Antonioni's follow-up to the equally slow-and-steady L'Aventura, La Notte was the winner of the Grand Prize at Cannes. (“L’avventura of I vinti concludes with L'eclisse.”) The number and degree of similarities and correspondences between L'eclisse and other Antonioni films are remarkable.2.

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