He adds that the ending is "a frightening way to end a film... but at the time it also felt liberating. An Antonioni film requires active engagement by the viewer. With regard to America, ignorance concerning Antonioni and in particular, L'eclisse, may not seem surprising. Outside the building, Vittoria and her mother walk to an open market nearby. 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."      Allen Ginsberg. )*, 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.”. Film critic Robin Wood complained that this and all films made by Antonioni after L'Avventura were "self-indulgent," "defeatist" and a "retreat into a fundamentally complacent despair. Because virtually everything in an Antonioni film, particularly L'eclisse, is potentially significant, the films--however elegantly simple on the surface--are among the most “dense” films ever made. Antonioni lancia la sfida sulla non conoscibilità della realtà attraverso domande senza risposta sostituite da una serie meditata di immagini. For Antonioni, even sex finally doesn’t have much to do with sex. After premiering on April 12 of 1962 at the Cinema Mignon in Milan (L’eclisse was shot in the latter half of 1961 between approximately 19 July and October), the film enjoyed little commercial success anywhere in the world with the notable exception of Japan.1  Alain Delon did not attend this Italian premiere, reprising his role as Piero and not showing up (Delon did attend the presentation of L'eclisse in Cannes on 7 May 1962). She meets Piero, and he drives her to her mother's apartment in his Alfa Romeo Giulietta sportscar. Meanwhile, back at the Rome Stock Exchange, Piero is busy making trades. Leggi la scheda film completa. "[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. 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). Commercial films generally treat the viewer as if he were a John and the experience supine. Even in Italy and France, however, the film has never enjoyed any significant degree of popular success. L’eclisse di Michelangelo Antonioni sulle note dei Joy Division. "[12] L'Eclisse won the Special Jury Prize at the festival and was nominated for the Palme d'Or (Golden Palm). 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. Piero arrives and tells her he bought a new BMW to replace his Alfa Romeo. Nevertheless, I also believe that--as Seymour Chatman hints at in the last paragraph of his book on Antonioni--L'eclisse is one of the “best” movies ever made. "1962. . 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. L'Eclisse won the Special Jury Prize at the 1962 Cannes Film Festival and was nominated for the Palme d'Or. [7], On its theatrical run in Italy, L'Eclisse grossed a total of 305 million lire. Il primo dei film che andremo ad analizzare è L’avventura, del 1960. 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. 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. Biarese and Tassone (p. 155) quote R. Benayoun as observing that with regard to Antonioni’s The Passenger, “L’avventura di questo Vinto si chiude con la sua Eclisse.” (“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. In this regard, scenes may appear digressive, arbitrary, and inexplicable. After a drunk walks by and notices Vittoria at the window, Piero comes over. Nel 1939 si trasferì a Roma, dove frequentò per alcuni mesi il Centro sperimentale di cinematografia ed entrò nella redazione di "Cinema". Marta, unamused, asks her to stop. Wilson Company. 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. Wakeman, John. A Firenze per vedere e girare l'eclisse di sole. 1987. p. 65. 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. They embrace and talk of seeing each other every day. Altri film dello stesso regista: L'Avventura, L'Eclisse. Diretto da Michelangelo Antonioni, 1962 Drammatico (126 minuti) con Alain Delon, Monica Vitti, Francisco Rabal. L'eclisse si caratterizza per essere un film sulla crisi dei sentimenti, come tipico della nouvelle vague. Virtually every scene in a mature film by Antonioni may be analyzed in terms of the specific theme being highlighted. Antonioni, a good director, but that movie, it put me to sleep. They enjoy a playful walk through a park. And what are we to make of the broken guitar of Blow-Up? 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 … This aspect can deny usual viewer expectations in which one scene is meant to build upon another, in which narrative hills and valleys occur. È il capitolo conclusivo della cosiddetta "trilogia esistenziale" o "dell'incomunicabilità", segue L'avventura e La notte. Sometime later, Vittoria visits her mother (Lilla Brignone) at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. [16], Nevertheless, disapproval of the work has occasionally been voiced. Not to be confused with the “euro” (€), the present common currency of 13 European nations. . . 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. (Pauline Kael, no admirer of L'eclisse, referred to the film as “Some like it cold.”)  To paraphrase Socrates, the unexamined Antonioni film is not worth viewing. The common consensus of the remainder of the planet will be that L'eclisse is a tedious, abstruse, and slow-moving film. As Moravia, who I believe was an admirer of Antonioni, has written of the filmmaker, “È come certi uccelli solitari che hanno un verso solo e lo provano notte e giorno. 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? 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. It is my belief that Antonioni constructed L'eclisse in the most meticulous and self-conscious of manners. (I shall henceforth refer to this binary assemblage of 0's and 1's as a “book,” although it is either less or more than that; regardless, at present no conventional, published book of these words you are now reading exists outside of the confines of cyberspace.) Piero drives back to his office on Via Po near Via Salaria, where he must break the bad news to his investors. This may be true insofar as I believe that L'eclisse is never destined to become a particularly popular film. 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. Bel regista Antonioni! Both Piero and his predecessor, Sandro of L’avventura, are obsessed with chasing women. For a game, Vittoria dresses up as an African dancer with dark makeup, and dances around the apartment. . (In this regard it is similar to La dolce vita, a rich film with a relatively simple time line.) Sesso, arte e denaro. She says "I wish I didn't love you or that I loved you much more." 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». 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. There is even the sense that--unlike most film--all scenes are created equal, none more important thematically than others. 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. The next morning, Piero and Vittoria arrive at the crash site where the drunk drove the car into a lake. L'eclisse (The Eclipse; Pronunciation of “eclisse”*) begins at the end. In lieu of the kind of specific allusions and references that populate all of Ulysses, in L'eclisse there are instead a number of major organizing themes which repetitively “explain” one scene after another. On the way, Vittoria is fascinated by the clouds. And yet, this film is often viewed as problematic and abstract, among the more difficult of Antonioni’s films. The final sequence contains images that were presented earlier in the film: a nurse with a child, a horse-drawn buggy, a man walking by, trees rustling in the wind, water running from a barrel, people waiting for a bus, sprinklers going off, a blonde woman walking by, a piece of wood floating in a water barrel, and people coming home from work.