Les Rendez-vous d'Anna

Written and directed by Chantal Akerman, Les Rendez-vous d’Anna (The Meetings of Anna) is the story of a filmmaker traveling through Europe to promote her film as she meets various people during her journey. The film is a character study in which a woman doesn’t just deal with being on the road but also the encounters she has in her travels as she copes with isolation from her surroundings. Starring Aurore Clement, Helmut Griem, Magali Noel, Hans Zischler, Lea Massari, and Jean-Pierre Cassel. Les Rendez-vous d’Anna is a mesmerizing and provocative film from Chantal Akerman.

Told in nearly the span of 72 hours from Cologne to Paris, the film revolves around the travels of a filmmaker who is promoting her film as she copes with the growing detachment of her surroundings as well as the people she meets along the way. It’s a film that explores a woman dealing with the role she is in as she ponders about the world she left behind she makes a brief visit to Brussels to see her mother and then return home. Along the way, she meets a family friend, a stranger on a train, and two men whom she would sleep with as it adds to this growing sense of detachment towards the people around her.

Chantal Akerman’s script does have a traditional structure as the first act is set in Cologne, West Germany while the second act is set partially on the train as well as its train stops including one at Brussels, and the third set in Paris. Yet, it is more about the study of its protagonist Anna Silver (Aurore Clement) who deals with traveling constantly and the demands to show her film to the world where she feels lost in her travels. Though the script features a lot of monologues from characters that Anna meets, it is largely minimalist in terms of its settings and refusal to dwell into conventional plot-points in favor of dwelling on Anna’s actions and her reaction to the news along with her recollections in her travels.

Akerman’s direction is very intoxicating for the way she doesn’t just capture that sense of detachment between a woman and her surroundings but also in the way she creates these gorgeous compositions to play that sense of detachment. Since the film features very little close-ups in favor of wide and medium shots, Akerman finds way to compose these images with something that feels ordinary but has something that feels very engaging. Even in the way she would put her actors into a frame whether they’re looking outside of a hotel room or have a conversation outside of one’s house. It says so much by doing so little into exploring Anna’s detachment as it would include these wide shots of the train stop interiors where she would meet her mother (Lea Massari) and a family friend in Ida (Magali Noel). Akerman does go for a few dolly-tracking shot for some of the movements that occur in the film though much of it straightforward where it’s not about camera pans or angles.

Instead, Akerman is just about that that direct image into the way she creates these compositions as the wide shots are lined-up in the middle of train stop staircase or a ticket booth in a train station. It has this air of simplicity into the direction while proving that these scenes just need sound and a visual without the usage of heavy dialogue as these quieter moments in the film are just as entrancing as the ones that features lots of dialogues and monologues. The scenes set in the train showcase that growing sense of isolation and detachment where Anna would walk through train compartments where one compartment is cramped with a lot of people forcing her to go back to another where it seems like she’s reluctant to even want to connect with a bunch of people but rather this one person on his way to Paris. It has something that does feel very European not just visually but also in its tone where it is a world that is changing but in ways that has Anna feel detached from as it relates to her own sense of loneliness. Overall, Akerman creates an evocative and captivating film about a woman’s journey through Europe.

Cinematographer Jean Penzer does brilliant work with the film‘s cinematography from the low-key yet colorful look of many of the daytime exteriors to the naturalistic lighting for scenes set at night including the stylish lights in the train stops and inside the train. Editor Francine Sandberg does excellent work with the editing where it is quite straightforward with some jump-cuts in some parts while letting scenes play out in their long takes. Production designer Philippe Graf does fantastic work with the look of the hotel rooms that Anna would stay in throughout her journey. The sound work of Henri Morelle is amazing for how natural it sounds as well as capturing everything that is heard including whatever music is playing in the radios.

The film’s small yet superb cast includes Hans Zischler as a man Anna converses with on the train to Brussels and Jean-Pierre Cassel as her Parisian lover Daniel who copes with the unhappiness of his work. Magali Noel is wonderful as a family friend in Ida whom Anna is fond of as Ida tells her that her son is the right person for her despite Anna’s own uncertainty while Lea Massari is fantastic as Anna’s mother who reveals into a lot of things that is happening in Brussels as well as things involving the family. Helmut Greim is excellent as Heinrich as a German Anna meets early in the film as he sleeps with her and later invites her to his home where he frets over the changes of the world. Finally, there’s Aurore Clement in an incredible performance as Anna Silver as this filmmaker who is going on a road trip to promote her film as she deals with her growing isolation and detachment in her surroundings and encounter with people where it’s a very restrained performance for much of the film with one key moment she sings a song to Daniel.

As part of the 2010 Eclipse box set series of Chantal Akerman’s work in the 1970s from the Criterion Collection, the film features an essay about the film entitled Meetings with Chantal by essayist Michael Koresky. The essay discusses not just the period of where Akerman was when she was making the film but also the backlash she received from feminists for working with a male crew though Akerman never claimed to be a feminist. What Akerman wanted to do was play into that sense of longing and loneliness into the character of Anna while the film did sort of serve as the antithesis of sorts to her previous feature film in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles which she claimed was never meant to be a political nor a feminist film. Instead, the film would reflect on a period in her career where she would become nomadic in her travels while still longing to return home to her native Belgium as it’s a fascinating essay by Koresky.

Les Rendez-vous d’Anna is a phenomenal film from Chantal Akerman that features a magnificent performance from Aurore Clement. Not only is the film a compelling character study with these evocative themes of isolation and detachment. It’s also a film that explores the travels of a woman and her need to wanting to connect but feel lost in her surroundings. In the end, Les Rendez-vous d’Anna is a spectacular film from Chantal Akerman.

Chantal Akerman Films: La Chambre - Hotel Monterey - Je Tu Il Elle - Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles - News from Home - (American Stories, Food, Family and Philosophy) - (Night and Day (1991 film)) - (A Couch in New York) - (La Captive) - (Tomorrow We Move) - (Almayer’s Folly) - (No Home Movie)

© thevoid99 2016

Murmur of the Heart

Written and directed by Louis Malle, Le souffle au coeur (Murmur of the Heart) is the story of a boy coming of age in post-World War II France as he discovers the world of sex and the social life of his own mother. The film isn’t just an exploration into a boy’s awareness of sex as well as being in a bourgeois world that his mother is a part of. Starring Benoit Ferreux, Lea Massari, Daniel Gelin, Ave Ninchi, Gila von Weitershausen, and Michael Lonsdale. Le souffle au coeur is a witty yet intoxicating film from Louis Malle.

Set in 1954 France during the Indochina War, the film revolves around a young boy coming of age as he opposes the war yet becomes concerned with his interest in sex as well as his own relationship with his mother. All of which plays into the life of a 14-year old boy who becomes fascinated by the changes in his life as his older brothers are having parties with beautiful women while he starts to outgrow boyish things. Still, Laurent Chevalier (Benoit Ferreux) is still at a stage in his life where he is becoming an adult but is still a child at heart as he also copes with being unloved by his gynecologist father but adored by his mother Clara (Lea Massari). It is largely told from Laurent’s perspective as he deals with growing pains and the demands he has as a teenager where he is taught at a Catholic school while getting his first taste with girls and sex.

Louis Malle’s screenplay has a very unique structure where its first half is set in a small French town where Laurent is just a boy coming to terms with a world that is changing as he loves jazz music and all sorts of mischief with his older brothers. On a day he walks home from school with a friend, he would see his mother get into a car with another man as it would trigger a series of events where his brothers would take him to a brothel where he would lose his virginity. Yet, the encounter would only have him confused and ill with a heart murmur as the film’s second half is set in a hotel where Laurent is cared for as he’s accompanied by his mother. It’s in this sanatorium/hotel where Laurent not only increases his interest towards other girls but also learn more about the life of his mother as it adds to his growing awareness that everything in his family life isn’t exactly what it seems. Especially as the retreat has Laurent become more attached towards is mother.

Malle’s direction is very engaging for the way he portrays early 1950s France where television had just emerged in the country while there’s growing debate about the war in Indochina. It’s a film where Malle decides to create something that is intimate as some of it is based on his own upbringing where Malle would shoot the film in the small town of Dijon to play into an upper-middle class world. Using lots of medium shots and close-ups, Malle aims for something that is loose in terms of some of the film’s humor while going for something much more intimate in his framing as it relates to the drama and Laurent’s relationship with his mother. Things do get more intense though on a restrained level once the film is set in this retreat where Laurent not only becomes more interested in girls but also his own mother. Malle’s usage of hand-held cameras become more evident as it plays into some of the craziness that occurs in this retreat but also the tension that looms towards Laurent’s feelings for his mother. Overall, Malle creates a very engaging yet provocative film about a boy coming of age sexually in 1950s France.

Cinematographer Richard Aronovich does brilliant work with the film‘s lush and colorful cinematography to capture some of the low-key yet grimy look of the locations in Dijon along with the more evocative look at the retreat with its usage of natural lights. Editor Suzanne Baron does nice work with the editing as it‘s very stylish with its usage of jump-cuts to play into some of the humor and chaos that occurs in the film. Production designer Jean-Jacques Caziot does superb work with the look of the Chevalier family home as well as the hotel Laurent and his mother stay at.

The sound work of Jean-Claude Laureux does terrific work with the sound as it is raucous for some of the livelier moments with the crowd with sparse moments in the intimate scenes between Laurent and his mother. The film’s music consists of pieces by Sidney Bechet, Gaston Freche, Charlie Parker, Dizzy Gillespie, and Henri Renaud as it’s a fantastic soundtrack that plays into Laurent’s own love for jazz and how it means to him in a complicated world.

The film’s amazing cast includes some notable small performances from Jacqueline Chauvaud and Corrine Kersten as a couple of young women Laurent meet at the retreat, Francois Werner as the snobbish rich kid Hubert that flirts with Laurent’s mother at the retreat, Henri Poirier and Micheline Bona in their respective roles as Uncle Leonce and Aunt Claudine, Gila von Weitershausen as the prostitute Laurent would lose his virginity to, and Ave Ninchi as the family maid Augusta who tries to keep things under control in the chaotic home of the Chevalier family. Marc Winocourt and Fabien Ferreux are terrific in their respective roles as Laurent’s older brothers Marc and Thomas who often get him into mischief as well as try to get him laid.

Michael Lonsdale is superb as Father Henri who tries to understand what Laurent is going through while being his teacher and ponder about Laurent’s sudden interest in things that sort of attack the Catholic church. Daniel Gelin is excellent as Laurent’s father Charles as this renowned gynecologist who is very distant with Laurent as he is always busy and wonders why he is so odd. Lea Massari is brilliant as Laurent’s mother Clara as this Italian woman who is so full of life and love as she also leads a secret life that eventually becomes troubling as she copes with her own faults as a wife and mother. Finally, there’s Benoit Ferreux in a marvelous performance as Laurent Chevalier as this young man coming of age in the mid-1950s as he learns about sex and all sorts of things while getting an understanding of the world from books and jazz music as he also deals with his own feelings towards his mother.

Le souffle au coeur is a remarkable film Louis Malle. Armed with great performances and a fantastic soundtrack, it’s a film that plays into a young boy’s life as well as his understanding about the world of sex in 1950s France. In the end, Le souffle au coeur is a dazzling and delightful from Louis Malle.

Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)

© thevoid99 2015

The Colossus of Rhodes

Directed by Sergio Leone and written by Leone, Luciano Chitarrini, Ennio de Concini, Carlo Gualtieri, Luciano Martino, Ageo Savioli, Cesare Seccia, and Duccio Tessari, Il Colosso di Rodi (The Colossus of Rhodes) is the story of a Greek military hero who becomes part of a rebellious group of soldiers to overthrow a tyrant king in the year of 280 B.C. The film marks Leone’s first time as a credited director as he would helm a sword-and-sandals film that bears a lot of the attributes of the film epics of the late 50s and early 1960s. Starring Rory Calhoun, Lea Massari, Georges Marchal, and Angel Aranda. Il Colosso di Rodi is a good and exciting film from Sergio Leone.

Arriving to the island of Rhodes is a Greek military hero named Dario (Rory Calhoun) who is there to visit his uncle Lissipu (George Rigaud) during a ceremony to unveil the statue of Apollo to guard its harbor. At a party held by its king Serse (Roberto Camardiel), Dario meets a beautiful woman named Dalia (Lea Massari) as he learns about a rebellion led by Peliocles (Georges Marchal) to overthrow the king. During Dario’s attempt to woo Dalia, Dario comes across a tomb of kings where he accidentally enters a room where Serses and his second-in-command Thar (Conrado San Martin) is having a meeting about an alliance with Phoenicians which would be a threat to Greece. After an encounter with the rebels and learning about what they want to do, Dario attempts to leave Rhodes only to realize that no one is to leave the island as he’s believed to be a suspect in the rebellion.

Dario decides to help the rebels in carrying a message to the Greeks only to learn about the true usage of the Apollo statue as Dario, Peliocles, and many others are captured. When one of the rebels in Karos (Angel Aranda) learns what Thar is trying to do as he smuggled a Phoenicians as slaves, he helps free Peliocles, Dario, and the rebels as they escape. Realizing that the statue is the main weapon, Peliocles wants to head an attack in order to control it and free the slaves under the statue. Dario however, believes that just going to the statue will be trouble as he goes on a reconnaissance mission to find out how to open the statue as he get Dalia’s help to enter where he learns about its mechanisms.

Suddenly, he’s trapped as he learns more of Thar’s plans as he barely escapes the statue as he returns to the rebels’ hideout only to learn that many of them are captured with the exception of Karos and his sister Mirte (Mabel Karr). Learning what Thar plans to do, Dario creates a plan to keep the rebellion going only for something that will change the face of the island.

The film is essentially the story of a Greek man visiting his uncle where he learns about a rebellion occurring in this island where he eventually takes part of the island after being suspected as a spy. It’s a premise that is typical of the swords-and-sandals genre where the first half of the film is about this man who comes from a different world where he learns about not just this rebellion against a tyrant king but also a coup from the king’s second-in-command to take control. It’s that half where it takes a while for the story to be really engaging while the second half becomes more exciting once Dario takes part in the rebellion where he learns about what is going on as there’s also a few twists on the way that would impact his time with the rebels.

Sergio Leone’s direction is definitely engaging at times though he seems out of step in the scenes where there’s a lot of parties and meetings around where there’s not much going on other than to establish the characters and situations. While Leone’s use of the widescreen format does have him create some entrancing compositions that would be a testament to his later work in the years to come. The film does become more interesting in the second half due to the action as it includes a scene with chariots as well as a lot of extravagant set pieces in the action that shows the kind of ambition Leone wanted. Even as the third act features a climax that plays to the fates of everyone although it’s really more of a rehash of what he did in his previous film The Last Days of Pompeii. Overall, Leone does make a film that is exciting at times despite an underwhelming first half.

Cinematographer Antonio L. Ballestros does nice work with the photography to play out the extravagance of the party scenes as well as the film‘s colorful daytime exteriors along with a more entrancing look for its nighttime scenes. Editor Eraldo da Rama does some excellent work in the editing by creating some rhythmic cuts for the film‘s action scenes. Set decorator Ramiro Gomez does some spectacular work with the set pieces to create the lavish sets to create the world of 280 B.C. Rhodes.

Costume designer Vittorio Rossi does some wonderful work with the costumes from the robes the men wear to the dresses that Dalia wears. The film’s music by Angelo Francesco Lavagnino is terrific for its bombastic orchestral score to play up the film’s suspense and action.

The film’s cast is superb for the ensemble that is created as it features some noteworthy performances from George Rigaud as Dario’s uncle Lissipu, Felix Fernandez as Dalia’s father Carete, Angel Aranda as the young rebel Koros, Mabel Karr as Koros’ sister Mirte, and Roberto Camardiel as King Serses. Georges Marchal is pretty good as the rebel leader Peliocles while Conrado San Martin is wonderful as the villainous Thar. Lea Massari is quite good as Dalia as she falls for Dario although her character isn’t as developed throughout the film as well as what happens to her character in the third act. Finally, there’s Rory Calhoun in a terrific performance as Dario where he displays a bit of charisma to the role as well as the abilities to play a leader despite some issues with the script that has him emoting where it doesn’t really work.

Il Colosso di Rodi is a fine debut film from Sergio Leone that does bear some of the visual traits that his fans will enjoy. For a swords-and-sandal film, it’s quite entertaining despite a somewhat weak and tedious first half that takes a long time to establish characters and plot points. Yet, it gets carried by a strong second half that is exciting once the fighting starts to happen. In the end, Il Colosso di Rodi is a stellar film from Sergio Leone.

Sergio Leone Films: The Last Days of Pompeii - A Fistful of Dollars - For a Few Dollars More - The Good, the Bad, & the Ugly - Once Upon a Time in the West - Duck, You Sucker! - Once Upon a Time in America

Related: Once Upon a Time: Sergio Leone - The Auteurs #16: Sergio Leone

© thevoid99 2012

L'Avventura

Originally Written and Posted at Epinions.com on 8/28/07 w/ Additional Edits & New Content.

When Italy emerged from the post-war era following the fall of Fascism, a new wave of Italian films emerged. One of those directors from this new wave known as neorealism was Michelangelo Antonioni. Working in the industry since the 40s with other iconic directors like Roberto Rossellini, he finally emerged with his feature film debut as a director in 1950 with Cronoca di un Amore (Chronicle of a Love). He would make four more feature-length films for the entire decade despite not getting any attention internationally. That would all change in 1960 where he would make a film that to this day, divide critics and film buffs over its narrative approach and filmmaking style. Yet, it would be the film that would give him the international attention and prestige he deserved that was entitled L'Avventura (The Adventure).

Written with Elio Bartolini and Tonino Guerra, L'Avventura tells the story of a boat trip with rich couples gone wrong when a passenger disappears. The disappearance of this young woman leads to a search as her lover and her best friend cope with the loss as well as the world that surrounds them. Directed by Antonioni that is also a study of alienation that would become part of a trilogy that would follow his next two features. It is the film that remains one of his great achievements, depending on the audience. Starring Monica Vitti, Gabriele Ferzetti, and Lea Massari. L'Avventura is a powerful, hypnotic, yet very haunting film from the late Italian film legend.

Going on a yachting trip, Anna (Lea Massari) joins her friend Claudia (Monica Vitti) to go to town where they would meet Anna's fiancee Sandro (Gabriele Ferzetti). While wandering around into the town including a museum, Claudia would try to look to see Anna and Sandro making love. The trio then leaves for a port to join the rest of the party in their yachting trip. They're joined by Corrado (James Addams), Guilia (Dominique Blanchar), Raimundo (Lelio Luttazzi), and Patrizia (Esmerelda Ruspoli). On their way to the volcano islands near Sicily, Anna decides to go for a swim as she's joined by members of the party. During a claim of a shark, they’re picked up as Anna talks with Claudia about her relationship with Sandro that’s become rocky lately.

Landing on a rocky island, the party minus Patrizia and Raimundo go exploring while Sandro wants to talk to Anna about their relationship. An argument ensues as Anna wants to be alone with Sandro deciding to leave her alone. Time passes by when the sea starts to get rough as the party decides to go home. Suddenly, Anna has disappeared where Corrado, Guilia, Claudia, and Sandro scour the island for a search. Things don't get better, even as Sandro finds a rocky hut as the sea is becoming more dangerous. With Corrado, Claudia, and Sandro deciding to stay, the party leaves as they go for help. Staying in the hut, they find that it's the home of a hermit (Jack O'Connell) who also hasn't seen Anna. Claudia is emotionally despondent as she wonders what Sandro has said to her.

The search continues with a coast guard helping along with Anna's father (Renzo Ricci) who asks Claudia what happened while showing him the books she had in the trip. Hoping that she's alive, they continue for a search of the island when one of coast guards arrives with a report about a boat. With Claudia choosing to stay on the island more to continue her search, Sandro decides to go to an interrogation concerning fisherman. The rest of the party decides to go to the home of a princess (Angela Tomasi di Lampedusa) for their holiday. Sandro watches the interrogation which leads to nothing as he finds Claudia at a train station on her way to rejoin the party. Despondent over what happened to Anna, Sandro takes the train with Claudia as they try to come to term with their own feelings.

Sandro stops at a station as he hopes to find more clues leading himself to both a journalist and a beautiful tourist writer named Gloria (Dorothy de Poliolo). Claudia meanwhile, feels more alone by the people around her as Guilia flirts with a 17-year old nephew (Giovanni Petrucci) of the princess as they all hope to go to another party. Claudia sees that Sandro has arrived with some ideas of Anna's whereabouts. Claudia joins Sandro as they take a trip into towns to find some clues. During this trip, the two begin to fall for each other as often ponder their own existence and the newfound loneliness they're suffering. During a stop at another town, things get stranger when Claudia, is suddenly the center of attention in a town surrounded by men.

During this stop, Claudia and Sandro stop to look at towers in the town as their emotions almost get the best of them when they're surrounded by bells. When Claudia receives word that Anna might've been in another town at a hostel, she and Sandro go where they stop at a hotel. They find that Patrizia is there as another party is held. Sandro reluctantly joins as emotions start to run high in a climax that questions the ongoing alienation between both Claudia and Sandro.

The obvious theme of alienation and isolation is definitely prominent throughout the entire film. Not just the emotional and mental isolation the protagonists are going through but also a physical and social alienation. There's a scene where Sandro and Claudia look at buildings where Sandro wonders what's going to happen to them in the next 20-30 years and will they still be there. That's an idea of what the film is about yet Antonioni is more about the human condition rather than the locations. In reality, the film is really about these two people who become connected by the disappearance of a person who has felt her own isolation.

The script isn't very plot-driven yet the way Antonioni and his writers approach the story as if the audience is part of this search and trying to figure out what has happened. The result though is something not everyone will take part of and understandably of course. The film's pacing, through its long-takes and observational shots, is definitely something that will antagonize general audiences. It's not because it's slow and at times, very pretentious but rather deliberate to emphasize what the characters are doing and responding to this horrible incident. The first act is about Anna her own disappearance leading to the on-going search. The second act is about Sandro and Claudia coming to terms and the third act being about their own alienation, their attempts to become a couple, and eventually, dealing with everything that's happened to them.

The direction of Antonioni is very hypnotic though not for everyone, particularly a general audience who will feel bored by his compositions and staging of his scenes. Yet, there's something very arty to Antonioni's direction. The compositions he makes are wonderfully shot, even through the locations he's in. The one scene where Claudia is being watched by all of those men around is truly one of the best moments in Antonioni's direction.

The film's final shot is also just as powerful into how he captures the emotions of the protagonists in this final moment. Antonioni, definitely has an eye for the locations and situations he's capturing as it's all important to the story. Even through the drama that's going on, he doesn't overplay it or dramatize it as much. He's rather playing the role as a third party observer who is trying to understand all that is going on. The end result is a powerful yet haunting film from Michelangelo Antonioni.

Cinematographer Aldo Scavarda creates wonderful imagery with the film's black-and-white photography, notably the compositions and coverage of the scenes the film is in. Scavarda’s work on the exterior settings is exquisite to convey the arty look of the film, notably the black dress that Claudia is wearing with the gray suit of Sandro. Production designer Piero Poletto creates some wonderful settings in home of the princess that included a variety of nude paintings by the prince. Costume designer Adriana Berselli also creates a distinctive look to the film that conveys its mood with the black dress of Claudia to the gray-white suit of Sandro.

Editor Eraldo De Roma brings some nice, stylized cuts to the film though its slow rhythm was deliberate to the film's tone. The sound by Claudio Maielli is also haunting with the sounds of wind in the island. Music composer Giovanni Fusco brings a suspenseful opening theme to the film while the rest of the score, which is barely heard throughout the entire film, is a soft, serene flute piece that underscores the film's melancholia.

The film's cast is wonderfully assembled that features some memorable, minor performances from Professor Cucco as Sandro's boss Ettore, Angela Tomasi Di Lampedusa, Giovanni Petrucci, Jack O'Connell, and Renzo Ricci as Anna's father. James Addams is good as the geologist-buff Corrado while Dominique Blanchar is lively as the flirtatious Guilia with Isa Bellini providing the voice for her character. Dorothy De Poliolo brings a nice, beautiful presence as writer Gloria Perkins while Lelio Luttazzi is good as Raimundo.

Esmerelda Ruspoli is good as the posh though uninteresting Patrizia who is what is expected of rich, posh women while giving Claudia some bad advice. Lea Massari is excellent as the haunting, despondent Anna who could be interpreted as a selfish bitch who toyed with the emotions of her companions. Yet, her performance is memorable though she's only in the film for the first 30 minutes but she did fulfill what was needed for her character.

Gabriele Ferzetti, probably known to American audiences as a railroad baron in Sergio Leone's classic epic-western Once Upon a Time in the West, gives an amazingly charming yet melancholic performance as Sandro. Ferzetti is a man who has redeeming qualities despite his flaws in how he treated Anna at times, and how he tries to seduce Claudia. Instead, Ferzetti chooses to mix his charm with sadness as a man who is becoming aware of his own alienation of the world around him as well as the world of upper-class Italy.

Monica Vitti is wonderful in her role as Claudia with her enchanting beauty and the presence she brings to this film. Vitti starts off as this playful friend who is then the protagonist as she is desperate to find her friend. Vitti manages to bring a mix of humor, melodrama, and intelligence to the film as it's really her film. Vitti manages to show her character's vulnerability and the ability to cope with not just loss but also her own newfound alienation as she becomes aware of the world that she lived in for all of her life is now something she couldn't relate to. Both Ferzetti and Vitti have wonderful chemistry as they give performances that are truly memorable.

***Additional DVD Content Written from 1/10/11-1/12/11***

The 2001 Region 1 2-disc DVD of L’Avventura from the Criterion Collection presents the film in a new digital transfer with restored picture and sound for widescreen televisions.  Presented in its original 1:77:1 theatrical aspect ratio for widescreen as well as Dolby Digital Mono in Italian.  With a new English subtitle translation, the film is given a look that is truly electrifying as the black-and-white cinematography of Aldo Scavarda is stunning.

The only special feature in the first disc is a full-length audio commentary track from film historian Gene Youngblood that was recorded in 1989 for the laserdisc release of the film.  Youngblood discusses Antonioni’s early career up to Red Desert, the last of which he feels is part of Antonioni’s alienation trilogy of L’Avventura, La Notte, and L’Eclisse.  Youngblood reveals that the film is really a mystery in reverse since the solution is the disappearance of Anna and the mystery more revolves around Sandro and Claudia in their own development individually and as a couple.

Youngblood also talks about why the film was so revolutionary at the time because of the long takes and importance of scenery without dialogue.  It was that approach to filmmaking that really annoyed audiences when it premiered at the 1960 Cannes Film Festival.  Yet, to film buffs, critics, and filmmakers, it was a film that was unlike anything at the time.  Even as Youngblood talks about a lot of the visual ideas that would become prominent in not just Antonioni’s work but also the way it defined European cinema in the 1960s.  Though at times, Youngblood’s commentary can be dull.  It is definitely informative to many of the ideas and themes of the film.

The second disc of the DVD includes a few special features relating to the film.  The first is a 58-minute documentary called Antonioni:  Documents and Testimonials.  The 1966 documentary produced in collaboration with a Canadian TV production company explores many of Antonioni’s themes and ideas along with his career up to the filming and release of Red Desert.  The documentary features interviews with a lot of Antonioni’s friends and collaborators.  Among them are Monica Vitti and fellow Italian filmmaker Federico Fellini who worked with Antonioni when they were making Fellini’s first film The White Sheik with Antonioni as a screenwriter.  

While it features some great insight into his work from authors and artists, at times it comes off as a bit tedious.  Though there are some great clips including a deleted scene in L’Avventura where Claudia and Sandro meet a man on their way to a town.  Other clips include Monica Vitti at the Cannes Film Festival where she talked about its harsh reception at its premiere.  Finally, there’s a great scene in which Fellini is being interviewed as he’s making Juliet of the Spirits where he talks about Antonioni.  Despite its flaws, it’s a very good documentary that profiled Antonioni at the apex of his career before he would make Blow-Up in 1966.

The second featurette in the second disc involves essays by Antonioni that is read by Jack Nicholson, who starred in Antonioni’s 1975 film The Passenger.  Also featured in the section is an interview with Nicholson about Antonioni.  The first essay entitled L’Avventura:  A Moral Adventure has Nicholson narrating Antonioni’s words about his experience making the film.  The 10-minute audio featurette has Antonioni discuss his feelings about the film and his approach as he doesn’t give any answers.  Even as he reveals that the ways of the world then is becoming old though he still has a certain amount of respect for it.

The second essay entitled Reflections on the Film Actor is about Antonioni’s views on actors.  Antonioni discusses the collaboration between actor and director as well as how to get a performance from the actor.  Yet, the director has to let the actor interpret themselves as Nicholson narrates in the six-minute audio clip.  The third audio feature is Nicholson talking about Antonioni.  Nicholson talks about the idea of working with Antonioni as he reflects about the production of The Passenger.  Even as Nicholson talks a bit about Red Desert as the overall five-minute piece is a fun story to hear.

Two other minor special futurities includes the film’s theatrical trailer and a three-and-a-half minute restoration demo about the film’s digital restoration since it took five months to restore each frame of the film that was filled with dirt and scratches.  Even as it wanted to make the images sharper and with more contrast to the colors.

Three essays appear in the booklet for the Criterion DVD set.  The first is by English film professor Geoffrey Nowell-Smith about the film, its themes, and its legacy.  Even as he talks about the characters and their motivations.  With the exception of Claudia, every character are enamored with their rich lifestyle as they live with no sense of true direction.  Nowell-Smith’s essay is definitely a great read as it gives new viewers an idea of the film and how Antonioni redefined cinema in the 1960s.  The second essay is Antonioni’s statement about the film following its notorious premiere at the 1960 Cannes Film Festival.

Antonioni talks about his film and the reaction he received from Cannes as he believes that the film is about what is going on with the world at that time.  It’s definitely a wonderful statement from a director defending his film to an audience that was unable to comprehend in what they saw.  The third and final essay is a statement about the film’s reaction at Cannes from a group of film critics, filmmakers, and members of the jury at the festival.  The brief statement praises the film as among those who signed the statement include another famed Italian filmmaker in Roberto Rossellini.  The overall work on the Criterion DVD is definitely outstanding as it is definitely given a definitive release for the great Michelangelo Antonioni.

***End of DVD Tidbits***

Released in 1960 at the Cannes Film Festival, the film won Antonioni a special jury prize despite the hostile reaction from its audience. The film would eventually be considered a landmark film for the director as well as Italian cinema. Antonioni would later follow the film with two more movies about alienation with La Notte and L'Eclisse in the next two years before making his mark as an auteur. While Antonioni would continue to make films throughout the 60s with other films Il deserto rosso and Blow-Up and later in the 70s for Zabriskie Point and The Passenger with Jack Nicholson. Antonioni was still considered an icon for international cinema until late July 2007 when he died at age 94, the same day another iconic international auteur in Ingmar Bergman had also passed away at 89.

L'Avventura is a magnificent film from the late Michelangelo Antonioni. While some might not enjoy the film's lack of plot, slow-pacing, or even the characterization of a few characters. The film is still brilliant for its eerie take on alienation and coping with loss. Those new to Antonioni will find this film as a nice place to start though his 1966 film Blow-Up is more accessible and better for its take on mid-60s Britain. Though the director is now gone, this along with his other landmark films will live on as L'Avventura still endures for its haunting imagery and eerie storytelling that couldn't come from someone as brilliant as the late Michelangelo Antonioni.

Michelangelo Antonioni Films: (Cronaca di un Amore) - (I Vinti) - (The Lady Without Camelias) - Le Amiche - (Il grido) - La Notte - L’Eclisse - Red Desert - Blow-Up - Zabriskie Point - (Chung Kuo, Cina) - The Passenger - (The Mystery of Oberwald) - Identification of a Woman)- (Beyond the Clouds) - Eros-The Dangerous Thread of Things

© thevoid99 2011