and almost every film that Antonioni has ever made share a similar theme would be lost on Antonioni, nor that it would distress him. At this the end of Blow-Up’s day, it is unclear what this large, illuminated sign is, or what it is trying to “say.”  As suggested by Chatman, the sign superficially resembles three large letters, perhaps “TOA” or “FOA.” (The sign is strangely reminiscent of the brightly illuminated sign [“TDK?”] that appears so prominently in the background behind the Rutger Hauer character in Blade Runner as he delivers his poignant soliloquy--“I’ve seen things you people wouldn’t believe”--at a veritable summit of the film.) Which is more perverse, the interpretation that the end of L'eclisse suggests that a nuclear bomb has exploded at 20.00 killing millions of people, or that one sick man, Piero, has murdered one woman, Vittoria, on a summer night in Rome? Antonioni is a most painterly of movie directors. un brivido di vita . I do not know if Levi had ever read or heard of Antonioni’s review of Jud Süß. . Like L'eclisse and its barrel, there is a centripetal pull in all of The Passenger to only one place; in the case of the latter film, a bed in a small hotel in Vera in which to lie down and die. . The voice-over, that of a woman, narrates:  “Perhaps those watching the barges go by think about happiness, about leaving, about traveling, starting a new life.”  But, it was during this very time in January of 1943 that some of the greatest carnage of the war was being experienced and the tide of war had turned decisively against Germany and Italy. Already mentioned are the opening credits of L'eclisse with the white vertical line that “unzips” and effaces itself. Taxi Driver becomes a film about the “unspeakable” nature of the Vietnam War experience, the inability to articulate the horror of the war. . In Cronaca di un amore, it is in their cheap, rented lover’s hideout by a busy railway line--literally on the other side of the tracks--that Paola first broaches to Guido her desire to kill her husband. Some 13 years later, The Passenger will end on a note intimately concerned with vision: as David Locke relates the tale of the blind man who regains his vision at the end of his life, Locke, in the final minutes of his life has himself become blind and must depend on the Girl to describe to him what the world looks like just outside his hotel window. Instead, Turner does recognize that, indeed, the Girl’s identity is “far deeper and more complicated than at first meets the eye,” but Turner seems to veer off course to regard her not as a spy but as a manifestation of the maddening Lacanian “Real.”)  Such a passport could, however, be forged by an espionage agent (David Locke, a “civilian,” altered his passport with the greatest of ease), or perhaps the passport that the Girl presented at the hotel was his passport, the very passport that David Locke/Robertson had given the Girl previously in Barcelona (No matter how such a passport may—or may not—have been presented by the Girl on registration at the hotel, we the audience have arrived at a “fearful Antonionian symmetry”: the point where not only David Locke but the Girl as well may have both switched identities, the inevitable destination where the splintered dyads of most Antonioni films arrive at, one of mutual misrecognition. I tried spelling the words forwards and backwards, tried different combinations of the six letters, searched for commercial enterprises or surnames with any possible connection, etc. Sta rigettando il midollo, e sembra che per lui ci siano poche possibilità, e ancora meno dal fatto che ha solo due anni. As a general rule, in L'eclisse, camera angle and dialogue conspire to make Vittoria smaller than she is. Non c’è in lei alcun sintomo di nevrosi.” (“[Vittoria] is a calm and stable woman who considers her every action. (Jack Turner [vide infra] quotes the well-known critic Stanley Kauffmann as being “so puzzled by the character [of the Girl] as to be nearly irate.”)  David Locke—for a man on the run whose lives are at stake—seems largely disinterested in her identity. William Arrowsmith, in his preface to his translation of Antonioni’s book, Arrowsmith also comments on the recurrent “cosmological” references that recur in Antonioni’s films, beginning with the meeting between the lovers that takes place in the Milan Planetarium in, Lidia comes across young rockateers launching their primitive rockets in a field at the periphery of Milano. twenty-five times, not only does not raise the issue of whether the Girl might be someone else other than who she seems, but refers to her as, “the positive reinforcer of life.” (p. 136). Shot 39 of the coda is the last time we shall see the interior of the barrel. May one look or listen too carefully to an Antonioni film, an error that I may be accused of having made? A particularly blatant example occurs in, when the industrialist’s wife, Signora Gherardini, lifts up her skirt in the middle of her extravagant party à la Gatsby to show off her new garter containing a pouch for money. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. 3. As would be the case for many of Antonioni’s films yet to come, he had made a film that to some degree would soon both literally and figuratively disappear. Alain thinks it’s a great joke and is very proud of his aim.” (Or as Vittoria exclaims to Marta in, , “Bel colpo!” [Good shot!].) . tense. When asked by Guido, in an aside, who the girl is, the salesman responds, “Joy. Antonioni is not employing opera in his films, an ostensibly high-minded form of music that is habitually married to the most implausible, melodramatic, and homicidal of plots, the stage in many an opera invariably littered with corpses as the curtain drops. The precise manner in which Antonioni films the streetlight immediately before the screen goes black at the very end of the film enhances this interpretation of the light as a bomb’s explosive flash (as opposed to some inverted form of an eclipse):  the entire streetlight including its base and pole is first filmed in a relative long shot. It goes without saying that Antonioni is the literal director or “photographer” of Blow-Up, as he is also the director of Identificazione di una donna, in either a literal or metaphorical sense. Cinematografo: soggetto e regia.”  28 marzo 1935). Pomerance imperially declaims in the conclusion of his chapter on The Passenger that the Girl is “of course” Daisy Robertson (p. 230), managing to wield a dull and rusted Occam’s razor and magically conflate in one fell swoop the Girl, Daisy, and the wife of David Robertson. In L'eclisse there are also recurrent shots of pairs of trees. And then, the letters suddenly spoke to me. Piero is apparently oblivious or disinterested as to why Vittoria would stick her hand in the dirty barrel to push the broken stick away from the matchbook. René Prédal writes, “[, ] n’est ni rationnel ni symbolique. Parenthetically, the latter museum had been closed for “renovations” on 13 June 2006, only to be unceremoniously declared by the Mayor of Ferrara the week after Antonioni’s death in 2007, to be permanently closed, terminated, effaced, never-to-be-seen-again; http://lanuovaferrara.repubblica.it/dettaglio/Il-sindaco-su-Antonioni:-no-al-museo-solo-per-lui/1350514  [retrieved 13 December 2007]). Apart from the broad and typical Antonionian concern with metamorphosis and reification, the scene also speaks to the nature of visual perspective involving a complex inversion of subject-object, background-foreground, real-unreal, life-art. cinema. The first occasion is when Hallan is in his apartment and recites aloud to no one, an unseen deaf god, the incantation, the prayer: With your name, Sally, I shall conquer life. This newspaper headline--one that seems either a kind of replay or modern update on the newspaper headings seen in L'eclisse--will reverberate throughout the entire remainder of Identificazione di una donna. (P. d.s.r. Instead, I believe that actors, as a general rule, do not like to be reified. Art imitates life in the photo taken from the early Antonioni short, showing the same posture of a director carefully controlling the precise pose of a model, something the Photographer of. Durante l'operazione, però, Sandro spara al killer, facendosi notare fin troppo, e l'uomo fugge quando i fratelli non erano ancora arrivati. Less flagrant, less worrisome signs of psychological distress might be the ease and rapidity with which she overcomes her initial shock at the death of the Drunkard (as it also does not seem to take her long to get over her separation from Riccardo). When the evening is spread out against the sky Rifkin may be correct, or dead wrong. L'unica persona che può davvero sapere qualcosa è l'unica che con le indagini della Duomo ha sempre avuto molto a che fare, ma mai così direttamente. Joy reads aloud, reciting: "Tutto è amore. I servizi erano, però, all'incontro di Filippo con Isaac, e con loro c'era Domenico. As if this were not already enough, Minnelli in another scene from, placed a tree to the screen-left of the la mairie d’Auvers sur Oise (town hall of Auvers), as it appears in Van Gogh’s eponymous painting. I wish to specifically examine this sign before discussing what the final sign in L'eclisse might say. A possible sub-title for L'eclisse--one that might summarize the film--would be: A Meditation on the Possibility It is a powerful, incisive, extremely effective film.” / “ Non abbiamo esitazioni nel dire che se questa è propaganda, allora sia benvenuta la propaganda. The argument may be framed:  Clinton had, for whatever reason, a fundamental, subconscious imperative to be the biggest cock of the roost. The real dilemma with The Passenger isn’t David Locke. . The attraction of a film by Antonioni is such that we are drawn to things that in another film would never speak to us. Rifkin (p. 148) maintains that on close inspection viewing a 35 mm print with a Steenbeck one may see in the glass of the window frame of Locke’s room the reflection of the African agent who had previously arrived in the white Citroën in front of the Hotel de la Gloria. . Vide retrieved 2 November 2007].) (Antonioni’s first involvement with a major film was as a co-screenwriter of Rossellini’s 1942 film, Un pilota ritorna.) The film is not, however, about the death of Colonel Kurtz, but that of the end of the world. Perhaps the most dramatic example in Antonioni’s œuvre of this 180 degree photographic somersault occurs in, when the African “witchdoctor” being interviewed by the journalist David Locke, grabs Locke’s camera and begins filming Locke (“Your questions reveal more about yourself than of me.”). he (Hitchcock) is not concerned with the content of a film, which is quite obvious in Marnie, and it is how a film is put together which stands uppermost in his mind.” (As already noted, the same might be said for Il mistero di Oberwald.) As already observed, it is frequently the offhand remark, the inconspicuous gesture, the throwaway image to which meaning adheres. Domenico è arrivato alla stazione, ma Rosy sta per partire. The piece of wood and matchbook are no longer separated, but are again touching, “interlocked” as they continue to swirl ever faster. In such a context one remembers Ingmar Bergman as well. I fell in love immediately with her hands.” This answer is peculiar insofar as the response to the reporter’s question was actually intuited and uttered by Antonioni’s present wife, Enrica Fico Antonioni, the mouthpiece with whom Mattanza was truly engaged. Nevertheless, in L'eclisse there is one scene—when Piero is in the home of Vittoria’s mother after the market crash—when Vittoria and Piero discuss old photos of Vittoria as a young girl flanked by her parents in a setting of poverty as compared to Vittoria’s present fancy apartment in the EUR or even her mother’s present stodgy apartment not far from the Vatican. From this perspective, Vittoria appears shrunken, a veritable pygmy. Pages 47-48). . I thought I might go mad, this incessant barrage of unwanted and useless noises. The intersection of the Viale del Ciclismo and Viale della Tecnica does not remember Vittoria and Piero. Perhaps the most startling mirror scene(s) in all of Antonioni's films is that which essentially bookends or encloses within its leaves all of L’avventura. Flash forward again to the life of the man Alain Delon when in 1968 the scandalous “affaire Markovic” exploded in which the decomposed corpse of Delon’s bodyguard, Stevan Markovic, was found in a wooded area of Élancourt (Yvelines). Although Freud wrote a great deal about artists—most prominently two Italian men, Michelangelo di Lodovico Buonarroti Simoni and Leonardo Da Vinci—Freud had relatively little to say about the ultimate origin of the artistic impulse. In Antonioni`s cosmology, one might conclude that the intrusive appearance--either visual or auditory--of a plane or train during the attempted coupling of two human beings portends an unhappy outcome. . A counterpart to the extraordinarily composed mise en scène of the raising of the Alfa occurs at the conclusion of, . The final image of Identificazione di una donna is that of an “asteroid-spaceship” hurtling towards the Sun. . Talking of Michelangelo. O forse, si amano e basta. . Ora, Dante e Ilaria hanno un'alleanza con il vero capo dei talebani, Ismail. Does the sound of the airplane come from outside in the sky above the apartment, or from the first floor below where the propeller lies lifeless on the floor of the photographic studio? See: http://www.audioguiasqr.com/vera-paisajes-de-cine-el-reportero/ accessed: 31 December 2013) in southern Spain to Osuna and to Death. Cosimo Saluzzo, il detenuto che, due anni prima, assassinò in carcere il primo dei fratelli Abate, Nardo, per conto dei Manzella: è uscito di galera e, ora che il clan a cui apparteneva è stato completamente sradicato da Rosy un anno prima, si è alleato con Dante e Armando e, con un abile stratagemma, distrae Sandro Pietrangeli e Francesca Leoni, mentre i fratelli escono indisturbati dal night, facendo perdere le loro tracce. Off. Does Piero also murder prostitutes? Conventionally, the highest and/or loudest note of a musical composition, particularly in opera, accompanies the moment of highest drama. Much of the dramatic tension that drives all of L'eclisse is derived from the fundamental incompatibility between Vittoria and Piero. Nothing is as it seems. 22 years later Antonioni boycotted the Cannes festival over what appears to have been a petty, inside-baseball, tempest-in-a teapot contretemps between the producer/attorney Ponti and director Monicelli concerning a casting issue of relatively little ultimate consequence. Provoked by the invasion of Sicily, an overripe fascist government—like fruit that had been on the vine for way too long—fell. at a back-story of a possible earlier marriage and is also reminiscent of Piero’s remark that he may have already met Vittoria in a cinematic past that Antonioni has never shown us. . Perhaps the ultimate, the paradigmatic expression of such an arboreal dyad appears in Mizoguchi’s. . Although Antonioni and Hitchcock might at first glance appear to be quite different filmmakers, there are several significant similarities between them. Lui è Pierpaolo Padrini, un ricco politico, e i due si danno appuntamento. . In Piero’s bedroom, however, we see a book identified by Mancini and Perrella as a detective story published by Mondadori, the title of which contains the words, “Scotland Yard.”  Although both Riccardo and Piero are concerned with “economics,” they approach the subject from different perspectives; in one case academic, in the other, base. Both the lovers and ourselves are startled. It must be emphasized, however, that Antonioni is a man who has read widely. At least in a standard VHS video print of, , I cannot even read the Eur sign, let alone interpret it. There is not even the stability of a single language in the exotic world of film production. This apparent implication is, to my mind, a debatable and ultimately ironic generalization, especially considering that a constant theme in Antonioni’s film is inconstancy. However, by 1974 when Antonioni was shooting The Passenger the need for Locke’s soul to pass between the bars of his hotel window had arisen. But the happiness I felt was but a paltry thing compared to my pity and fear, the bride and groom, David Locke long gone, who knows where, life goes on. (Ultimately, it may be argued that it does not matter who placed the sign there; the sign’s significance remains the same.) (In the Zimmerman film, a white Alfa Romeo Giulietta spider—similar to Piero’s car that had met an untimely death in L'eclisse—is disguised and altered, driven by a man who has also been disguised and altered, and like Piero’s car will also meet an untimely death.) Nor is, consonant with Hugo’s view that indifferent nature loses all trace of the love past, or Musset’s third alternative: that place is of no importance to recollection, that the outer world is irrelevant to the sanctity of memory. ma per tanti, . As Donald Richie notes, while Watanabe is vomiting in the bar we hear the Josephine Baker recording of J’ai deux amours. Antonioni is a most painterly of movie directors. . . Antonioni is very direct in illustrating the double life of David Locke. There is then a sudden cut to an extreme close up of the lamp itself, surrounded by a “halo” effect, thus highlighting the sense of a sudden blast of blinding light. There are, however, two solitary trees prominently jutting into the foreground of the entire right half of the frame. ], ([In Italian] retrieved 6 August 2007 from: < http://www.scandalosamentesanto.splinder.com/archive/2004-08>). In another, it is foretold that “tomorrow” will never come. The name of the Girl, a tetragrammaton, both exists and does not exist. The final line in the closing credits of the bizarre, comic satire, Life of Brian, is: “If you have enjoyed this film, why not go and see La Notte”? Il misterioso killer colpisce ancora e questa volta tocca al vecchio Don Turriello, rintanatosi nel suo rifugio di montagna: il boss viene preso in ostaggio e consegnato ai fratelli Mezzanotte che dopo averlo torturato cercano di farsi dire un misterioso nome che sarebbe in possesso di informazioni ben precise su qualcosa di losco e di cui i due boss vogliono entrare in possesso. it is difficult to know to what extent to defer to the screenplay for meanings that are perhaps not clearly perceptible in the film.”  Despite this admonition, I believe that if the principal screenwriters (Antonioni and the poet, Tonino Guerra) had decided that a stock broker must die, death-by-auto might have been a better choice. Likewise, Wenders’ 2008 film, Palermo Shooting, bears similarities to these latter two Antonioni films. The often cruel and supernatural coincidence of Simultaneity Sandro Pietrangeli, il personaggio di Giordano De Plano, è su tutte le furie per l’assassinio di Lara ed incolpa Davide Tempofosco (Giovanni Scifoni) di aver contribuito alla sua morte (sarà uccisa da Spagnardi ndr). Contemporary Psychoanalysis and Masterworks of Art and Film.) The camera then recedes to show Vittoria as she moves to screen left and turns around placing her back to the barrel as if to hide the act she has just performed. The one meeting Robertson-Locke does have in the Munich church appears “unscheduled.”  Instead, the book may be a codebook, cipher, cryptogram, or analogous enigma containing hidden message(s) related to, perhaps, the espionage theme of some other clandestine element of the film. . The moonlight, In a common prayer for the dead we say: Did Antonioni not read the headlines of the very newspaper he worked for, during which period of Antonioni’s employment antisemitic articles were staple fare? Claudia, with the optimism and blindness of new love, tells Sandro that she believes that he too “could make very beautiful things.”  Sandro responds, “I’m not so sure. you should throw a penny, a feather, scissors, one piece of iron and one of wood into a pail of water.” Vittoria may be performing just such a rite. But one can’t drown out such unwanted words and noises, one can only continue to suffer their presence, as a person who lies on the bed of the sea playing dead man’s float cannot block out the sounds of the waves.   Compreso me. Among his poems is “A Broken Appointment,” the first stanza of which is: Lane writes that during the filming of the scene in Vittoria’s childhood apartment earlier in L'eclisse, that between takes Alain Delon had noticed two “teenage toughs down on the building lot below throwing stones at each other’s feet. It has been my experience that young men in no ostensible, immediate, apparent danger worry frequently about death, or as my son had said, “the end of the world and shit like that.”  Perhaps I should not have read Kermode’s The Sense of an Ending when it was published in 1967 and I was a very young man, a teenager. In La notte, Lidia and Giovanni walk through an arch flanked by two Italian cypresses in the scene near the Breda factory on the outskirts of Milan. . One might just as well vainly ask why Antonioni did not place a lonely cactus in the background outside of Riccardo’s bathroom window as he shaves.  Such a cactus, juxtaposed with a man shaving, would have served as a visual pun, the spines on the surface of each suggesting the equivalence of man and cactus.  Gavriel Moses in his treatment of the opening sequence of L'eclisse does refer to such a “lonely cactus” outside of the bathroom in Antonioni’s film.  I cannot, however, clearly discern this cactus outside the bathroom window, nor is there any reference to it in either the Italian or English screenplays. La Viola si reca in un circo. We overhear one young man asking, “Ci andresti sulla luna?” (“Would you like to go to the moon?”). An obvious question is whether the nocturnal floodlights of the two scenes in La dolce vita illuminated a lightbulb above Antonioni’s head and influenced Blow-Up, as well as L’eclisse. Remarkably few critics who have written of. Lane writes that the “screenplay” for L'eclisse was written in only 15 days in the first half of July, 1961, only days before principal photography of the film was to begin on July 20. . Fisicamente rappresentava la donna dei miei film. Vittoria’s father, however, is never referred to in the entire film, even when Vittoria and Piero stand before his photo.             But now I'm only falling apart Who is the biggest rooster of them all but the man who sits in the ultimate roost, the Oval Office? Thus, portions of L’eclisse have already disappeared by sleight of eye due to “technological advancement.”             And hope it's true what people say, Perhaps the ultimate, the paradigmatic expression of such an arboreal dyad appears in Mizoguchi’s Ugetsu Monogatari (“Tales of a Pale and Mysterious Moon After the Rain”). In this new climate the PdA, if anything, could have theoretically been of some benefit to Antonioni in his vital need to avoid prior to the liberation of Rome apprehension by German forces or pro-fascist elements. - Osuna Guarda la scena, nascosto tra le lapidi, anche Filippo de Silva, che considerava Claudia qualcosa di più di una nemica. The characters he “played” achieved a homogeneity in which their identity finally no longer mattered. , at the precise point in the song where Mina’s singing was obliterated by Fusco’s music at the very beginning of the film. It may be useful to note that like Vittoria’s “blissful” flight in L'eclisse, David Locke--whom we first meet in Africa--also has such a flight in The Passenger while in the gondola “flying” blissfully over the Barcelona harbour. This admission becomes mind-numbing when one flashes again backwards to Alain Delon’s early life and learns that after he returned from Indochina to France, Alain Delon was again imprisoned, this time in a military prison near Toulon for theft of a revolver (Violet. Quando la squadra non li trova nel loro night club, si decide di indagare a Trapani, dove De Silva riesce a far scappare i fratelli, oltre a sé stesso. No sense of humor. An Era of Nuclear Weapons Proliferation. Does anyone know who anybody is?”. Paul Corner writes that “It was Ferrara that formed the spearhead of the extremely rapid expansion of agrarian Fascism which—at the beginning of 1921—effectively rescued the town-based Fascism of Mussolini from extinction.” (Corner, Paul. It is, however, quite another thing altogether for a director to deliberately recruit an actor who literally resembles him/herself to play the part of a fictional character who will be murdered, as is the case with Antonioni and, . As is usually the case with Antonioni, he appears to be mixing multiple favored motifs simultaneously, in this case, that of trees and trains. In the case of Vittoria and Piero--a man and woman whose respective families are already either sundered or absent--the conflict is more modern, the failure to love at all, or well enough. (In Italian, French and Spanish, “to plant someone”-- “piantare,” “planter,” “plantar” respectively--are commonly used as a transitive verb referring to the “victim.”)  Although, “piantare qualcuno” in Italian may imply breaking up with someone forever, there is another Italian expression, “tirare” (or ‘fare,’ ‘dare,’ ‘ricevere’) il bidone a qualcuno” (“Throw the barrel at someone”) that--in the appropriate context, may specifically refer to standing someone up on a date. . I would argue that these desires are of so robust a character that they are actually encoded in the human genome—rising to the level of the instinctual—and not easily subject to widespread mutation and propagation over but several generations in the 20th century. (shoots her) Right, Akarumba! Both pop music and romance magazines (which continue to be published in Italy to this day), resemble television soap operas in their cardboard, two dimensional representation of characters inevitably ensnared in some kind of tortured romantic conflict. He has only one way of expressing himself: His work. Lo convince anche grazie alla sua storia. Prima di consegnarle i documenti falsi, viene chiesto a Rosy di spogliarsi, al fine di essere perquisita. .”)  We hear the “metasong” of the Brazilian “cantautore” (“singer-songwriter”), Caetano Veloso entitled, “Michelangelo Antonioni,” with the lyrics, “visione del vuoto, angolo vuoto, pagina senza parola . . If one accepts this proposition, then all film criticism is at a minimum two steps removed from the world, or said differently, an interpretation of an interpretation. . Had Antonioni, with few resources and against all odds, somehow managed to find a small, interstitial space of terrible beauty in this world of horror, in the relatively small place of his youth, the Po delta, and make a remarkably beautiful work of art that had nothing to do with fascism or the wars men make? Piero has both of his arms in the air, waving, trying futilely to stop the car. . The film is not, however, about the death of Colonel Kurtz, but that of the end of the world. One could say that it is possible to return only to where we have never been.” What does Antonioni think when, on occasion, he may find himself in the Eur at that intersection?
2020 sandro pietrangeli muore