There is even the sense that--unlike most film--all scenes are created equal, none more important thematically than others. Instead, with Antonioni we are presented with a series of tableaux that are only superficially related in terms of raw plot. a broken piece of wood, a matchbook, a woman, a man, [NOTE: TEXT SIZE MAY BE INCREASED BY PRESSING SIMULTANEOUSLY "Ctrl" AND "+" KEYS OR BY OTHER METHODS], Strange now to think of you, gone . There is such a deliberateness—an austere, claustrophobic, auteurial control to a film by Antonioni—that one must constantly ask, no matter how trivial the event or small the detail, “Why is Antonioni doing what he is doing?”  Pierre Leprohon (p.88) cites a 1959 interview published in Positif in which Antonioni said: Reality changes so rapidly that if one theme is not dealt with, another presents  itself. 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. Sometime later at his office, Vittoria and Piero kiss and embrace playfully on the couch, even wrestling on the floor like children. Leggi la scheda film completa. "[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. She asks to go to his place. In the second case, the broken vase speaks, among other things, to the theme of the disturbing disconnection between modern man, his environment, and his past. III AVM - Analisi della sequenza finale de L'eclisse (1962) di Michelangelo Antonioni. Vittoria says she is depressed, disgusted, and confused. L’eclisse appeared in the 1980s on VHS, but has until fairly recently been available only on unwatchable bootlegged versions. Curiously, not a single, major film of Antonioni takes place entirely within the confines of a single city. . What a strange and brilliant film it is. They enjoy a playful walk through a park. Diretto da Michelangelo Antonioni, 1962 Drammatico (126 minuti) con Alain Delon, Monica Vitti, Francisco Rabal. 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. While Ulysses could only have taken place in Dublin, it might be argued that L'eclisse could have been set in London, Blow-Up in Rome (or Milano), and that Zabriskie Point need not have faithfully recreated the California of the late 1960’s. Between these two endings, or perhaps better said—within the space enclosed by a zero—is a movie made by a man whose identity, like that of his film, remains uncertain. 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]). In reality, nothing much happens. In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. . World Film Directors, Volume 1. Altri film dello stesso regista: L'Avventura, L'Eclisse. 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 The next day, while waiting outside near her house, Vittoria looks in the barrel of water and sees the wood is still there. L’essere e il nulla. At the window she looks down to the street where she sees two nuns walking, some people talking at a cafe, a lone soldier standing on a corner waiting. 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…. Antonioni lancia la sfida sulla non conoscibilità della realtà attraverso domande senza risposta sostituite da una serie meditata di immagini. For the naïve viewer the answer is an unfamiliar one:  the segment is a gold mine of concealed, thematic riches, as opposed to the pleasures of most commercial films, overt sex and violence (“Kiss Kiss Bang Bang”). A young stockbroker, Piero (Alain Delon), overhears an inside tip, rushes to purchase the stocks, and then sells them at a large profit. He hears her typing. Why then, did Antonioni film it? Wakeman, John. 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 di Michelangelo Antonioni sulle note dei Joy Division. Indeed, the film is even less well known today than it was at the time of its release. (“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. "[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. Lascia un commento Annulla risposta. Piero drives back to his office on Via Po near Via Salaria, where he must break the bad news to his investors. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 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. The objects and people that populate Antonioni’s Rome are less specific and more generic. He looks around and says "I feel like I'm in a foreign country." 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? [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]. As they walk away, Vittoria is surprised that Piero is concerned about the dents and the motor rather than the dead man. An Antonioni film requires active engagement by the viewer. 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. Piero tries to kiss her, but she avoids his pass. Por Mónica Delgado. *  The secret for great filmmaking is perhaps knowing what to point the camera at. Sometime later, Piero and Vittoria are lying on a hill looking up at the sky. Must we only learn how to look and listen? .”  If Piero could step off the screen and see L’eclisse my guess is that he, too, would fall asleep. P. Leprohon, Michelangelo Antonioni, Paris 1969. "1962. Michelangelo Antonioni: analisi della filmografia del padre dell’estetica moderna Thomas Capone 26 Febbraio 2019 21 mins read Michelangelo Antonioni ha realizzato molti film stupendi come L’avventura e Blow-Up, analizziamo dieci delle sue più interessanti opere cinematografiche. For a game, Vittoria dresses up as an African dancer with dark makeup, and dances around the apartment. 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. Or, alternatively, employing the International Phonetic Alphabet:  ['eʊər]. "[12] L'Eclisse won the Special Jury Prize at the festival and was nominated for the Palme d'Or (Golden Palm). When she finally reaches him, she does not speak and he, thinking it's a prank call, yells into the phone and slams down the receiver. *  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. L’eclisse is a remarkable work. L'eclisse has never been a popular film. Fragmenting time and space, the Italian master created a potent new language for storytelling, and in … *  No gratuitous events occur, for even the smallest action bears thematic import. That evening, on Sunday 10 September 1961, neither shows up at the appointed meeting place. Unlike most movies, such womanizing is not a cinematic end in itself. His visually driven style and provocative approach to narrative raised the bar of what constituted popular filmmaking, and audiences at the time rose to the occasion to embrace it."[19]. 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 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. *, the present common currency of 13 European nations. 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. [9] “L'eclisse”, Michelangelo Antonioni y su pasión por la parálisis del cuerpo y los desiertos del alma. Scenes occur because they embody thematic concerns, not because they are part of a plot per se. Before she leaves, she drops a piece of wood into a barrel of water. Even among American university cinema majors their knowledge of Antonioni may be limited to having heard of Blow-Up or L’avventura, if that. Vittoria and Anita dismiss such talk. [7], On its theatrical run in Italy, L'Eclisse grossed a total of 305 million lire. L'eclisse, like all of Antonioni’s films, is an intricately conceived structure that is held together by thematic as opposed to conventional storytelling mortar. "It's so nice here," she tells Anita. L'Eclisse won the Special Jury Prize at the 1962 Cannes Film Festival and was nominated for the Palme d'Or. . Le amiche, Il grido, L'avventura, La notte, L'eclisse, Deserto rosso (1964). È il capitolo conclusivo della cosiddetta "trilogia esistenziale" o "dell'incomunicabilità", segue L'avventura e La notte. . The next day, Vittoria and Anita fly to Verona in a small airplane. 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. And I am excited by these themes, day and night. Allowing one’s attention to be attracted by each little thing has become a vice of the imagination.

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