A Venezia Classici tredici film d'autore. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. [9] Antonioni returned to their use in L'avventura (1960), which became his first international success. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. Di Michelangelo Antonioni, Steven Soderbergh, Wong Kar Wai. [5] The director explained to Italian film critic Aldo Tassone: My childhood was a happy one. —Antonioni, interviewed about Red Desert (1964). È considerato uno di quei film che tutti i fotografi dovrebbero vedere.Grazie a questo film Michelangelo Antonioni ha vinto Palma d’oro al Festival di Cannes 1967 e ricevuto la candidatura agli Oscar del 1967 come miglior film e miglior regista. His films have been described as "enigmatic and intricate mood pieces"[2] that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities. ", "From Acting to Directing, Cigars to Jazz, Actor Peter Weller Is a Man of Many Passions", Society of Motion Picture and Television Engineers, David di Donatello Award for Best Director, National Society of Film Critics Award for Best Director, https://en.wikipedia.org/w/index.php?title=Michelangelo_Antonioni&oldid=993059132, Centro Sperimentale di Cinematografia alumni, Short description is different from Wikidata, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Cannes Film Festival Jury Prize (1962), for, Cannes Film Festival 35th Anniversary Prize (1982), for, David di Donatello Luchino Visconti Award (1976), Giffoni Film Festival Golden Career Gryphon (1995), Italian National Syndicate of Film Journalists Silver Ribbon for Best Documentary (1950), for, Italian National Syndicate of Film Journalists Special Silver Ribbon (1951), for, Italian National Syndicate of Film Journalists Silver Ribbon for Best foreign film Director (1968), for, Kansas City Film Critics Circle Award for Best Director (1968), for, National Society of Film Critics Award for Best Director (2001), for, Valladolid International Film Festival FIPRESCI Prize for Short Film (2004), for, Venice Film Festival FIPRESCI Prize (1964), for, Venice Film Festival Career Golden Lion (1983), Venice Film Festival FIPRESCI Prize (1995), for, Venice Film Festival Pietro Bianchi Award (1998), This page was last edited on 8 December 2020, at 16:04. Grandissimo film, il più significativo di Antonioni insieme all' Avventura. Esemplare la rappresentazione della natura mai così protagonista: Aldo, con la sua giacca sdrucita, con la sua bambina che gli trotterella dietro, cammina nelle terre del Po, fra i filari, sull'argine, nel fango, lontano ci sono i paesi. As such, “L’Avventura,” is a bold but apropos title, forcing us to think of this type of affair as an adventure that may not lead anywhere or even mean very much, in its exploration of the complexities of desire, longing and connection. Distribuito da CIC - L'UNITA' VIDEO Consigli per la visione +16. However, its release was a critical and commercial disaster. The first, Blowup (1966),[16] set in Swinging London, was a major international success. La notte è un film di genere drammatico del 1960, diretto da Michelangelo Antonioni, con Marcello Mastroianni e Jeanne Moreau. Penso che quelli su Antonioni siano i miei appunti più inutili in assoluto, sarebbe meglio dimenticarseli e andare subito a guardare i film, ma ormai li ho messi in fila, il lavoro è fatto, eccoli qui. Maybe with last week’s belated Criterion Collection release of “La Notte,” perhaps the most sensually striking of all his modern tetralogy, the time is now. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni. [20] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo). "[4] The New Yorker wrote that "Antonioni captured a new bourgeois society that shifted from physical to intellectual creation, from matter to abstraction, from things to images, and the crisis of personal identity and self-recognition that resulted," calling his 1960s collaborations with Monica Vitti "a crucial moment in the creation of cinematic modernism. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. Critica e impressioni. Chatman, Seymour Benjamin, and Paul Duncan. One of my favorite games consisted of organizing towns. Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. For Antonioni, eroticism is an emotional tool to mask the characters shortcomings. He is best known for his "trilogy on modernity and its discontents"[1] — L'Avventura (1960), La Notte (1961), and L'Eclisse (1962) — as well as the English-language films Blowup (1966) and The Passenger (1975). Durata 102 minuti. Directed by Michelangelo Antonioni. My intention ... was to translate the poetry of the world, in which even factories can be beautiful. With Jack Nicholson, Maria Schneider, Jenny Runacre, Ian Hendry. ", Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them. Antonioni had made a mysterious, sparse and opaque film that would define the rest of his career—an unusual movie, like many others that would follow, where “nothing happens,” at least in the estimation of his harshest critics. The filmmaker would be awarded a Lifetime Achievement Oscar in 1995, two years after the same honor was bestowed on his counterpart Federico Fellini. Blow Up è un film del 1966 di Michelangelo Antonioni, un cult non solo da parte degli appassionati di cinema, ma anche di fotografia. Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. [12][13][14] The script was loosely based on the short story The Devil's Drool (otherwise known as Blow Up) by Argentinian writer Julio Cortázar. Le amiche è un film del 1955 diretto da Michelangelo Antonioni, liberamente tratto dal romanzo Tra donne sole di Cesare Pavese. Directed by Michelangelo Antonioni. And you think, 'Well, he's not going to carry that woman all the way up that road.' "[32], Italian film director and screenwriter (1912-2007). Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. "[23] Antonioni is also noted for exploiting colour as a significant expressive element in his later works, especially in Il deserto rosso, his first colour film. Spoiler warning This feature gives away the ending of the film; If it’s true that we take a particular interest in the culture of the era just before we were born then my enthusiasm for L’eclisse may be pre-determined. A key text of swinging London, Michaelangelo Antonioni’s Palme d’Or winning film was released in 1967. A frustrated war correspondent, unable to find the war he's been asked to cover, takes the risky path of coopting the identity of a dead arms dealer acquaintance. He is one of three directors to have won the Palme d'Or, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. [3], Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). Il grido è un film di genere drammatico del 1957, diretto da Michelangelo Antonioni, con Alida Valli e Steve Cochran. [24], Antonioni's plots were experimental, ambiguous, and elusive, often featuring middle-class characters who suffer from ennui, desperation, or joyless sex. There are people who do adapt, and others who can't manage, perhaps because they are too tied to ways of life that are by now out-of-date. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. [8], In 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. In 1943, he travelled to France to assist Marcel Carné on Les visiteurs du soir and then began a series of short films with Gente del Po (1943), a story of poor fishermen of the Po valley. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. Antonioni’s preoccupation with this cool, sometimes dispassionate “exquisite alienation” would often take a similar form; an austere but beautiful visual majesty, an architectural enormity that often oppressed the psychology of his characters within their environment (environment being everything to the filmmaker) and temps mort [dead time], those moments after the scene’s action really ends, when the camera’s gaze lingers, soaking up the inexpressible. [3] Film historian Virginia Wright Wexman notes the slowness of his camera and the absence of frequent cuts, stating that "he forces our full attention by continuing the shot long after others would cut away. He gives you a full shot of somebody walking down a road. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. L'Avventura di Michelangelo Antonioni - 1960 - 144' completo We have been capable of all this, but we have not been capable of finding new ones. It starred David Hemmings and Vanessa Redgrave. Per Umberto Eco, con L’avventura eLa notte, i… During the war Antonioni survived being condemned to death as a member of the Italian resistance. European Film Academy Lifetime Achievement Award, Italian National Syndicate of Film Journalists, Italian National Syndicate of Film Journalists Silver Ribbon for Best Director, "What Antonioni's movies mean in the era of mindfulness and #MeToo", "Michelangelo Antonioni: Centenary of a Forgotten Giant", "Interview with Michelangelo Antonioni in Rome", "Michelangelo Antonioni: stately cinematic master or pretentious bore? As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. He was subsequently drafted into the army. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. Antonioni lay in state at City Hall in Rome where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. [17] The documentary had its first showing in China on 25 November 2004 in Beijing with a film festival hosted by the Beijing Film Academy to honor the works of Michelangelo Antonioni. A young woman returns to her hometown of Turin to set up a new fashion salon and gets involved with a troubled woman and her three wealthy friends. Each of these stories is about social alienation.[9]. "[2] Stephen Dalton of the British Film Institute described Antonioni's influential visual hallmarks as "extremely long takes, striking modern architecture, painterly use of colour, [and] tiny human figures adrift in empty landscapes," noting similarities to the "empty urban dreamscapes" of surrealist painter Giorgio de Chirico. And while class was always a theme to a certain extent, from the socialites in “Les Amiches,” to the vagabond father in “Il Grido,” to the affluent couples in his “alienation trilogy,” his chief concern was more with the fundamental discontent that seems to be a byproduct of wealth, not wealth itself. L'avventura - Un film di Michelangelo Antonioni. He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist". In 1972, in between Zabriskie Point and The Passenger, Antonioni was invited by the Mao government of the People's Republic of China to visit the country. In its second half, “L’Avventura” all but abandons the missing girl—she drifts away like a foggy, forlorn memory—and then tracks her boyfriend Sandro (Gabriele Ferzetti) and best friend Claudia (Monica Vitti) as they eventually fall in love while initially searching in vain for their lost companion. With this wrong finally righted (we’re sure it was a rights thing but “La Notte” belonged in the collection a decade ago), we decided to take a look at the essentials of a sometimes overlooked titan of cinema: Michelangelo Antonioni. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. The line and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. Con Christopher Bucholz, Robert Downey jr, Gong Li. Filmmaker, novelist, and screenwriter Alain Robbe-Grillet (he wrote Alain Resnais‘ masterwork, “Last Year at Marienbad“) once said, describing Antonioni’s work with a comparable auteur, “In a Hitchcock film, the meaning of what you see on the screen is constantly delayed, but at the end of the film you understand everything. Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling. Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. The second to last film Antonioni would make with Vitti is the director’s first in color, and he makes striking use of the new tool, framing his urban landscape at a harsh, cold distance. As her memory fades into the background, her boyfriend and best friend go from concerned and investigative to eventually enamored of each other and tangled in their own troubled and tortured love affair. He continued to do so in a series of other films: I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche (The Girlfriends, 1955) about middle-class women in Turin. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. “L’Avventura” (“The Adventure” 1960) My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. Distribuito da DINO DE LAURENTIIS - … While he had made five previous movies, 1957’s “Il Grido” being the most essential of the bunch, Italian filmmaker Michelangelo Antonioni’s career didn’t really begin in earnest until a May 1960 evening at the Cannes Film Festival where his latest film, “L’Avventura,” was met with boos, exaggerated yawns, loud jeers, and even derisive laughter. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. The poor still existed at that time, you recognized them by their clothes. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. "[3] American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. Drammatico, Italia, 1960. A precocious violinist, he gave his first concert at the age of nine. At the Cannes Film Festival it received a mixture of cheers[10] and boos,[11] but the film was popular in art house cinemas around the world. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. But he does. [29] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. The film would go on to win a Special Jury Prize “for its remarkable contribution towards the search for a new cinematic language.”. [1] All of these films star Monica Vitti, his lover during that period. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. Because just like Antonioni’s similarly themed explorations that followed, it’s a film that almost never provides satisfying or easy answers to the mysteries of human behavior. L'opera, la quinta del regista di Ferrara , ha riscosso un buon successo di critica tanto da essere premiata con il Leone d'argento alla 16ª Mostra internazionale d'arte cinematografica di Venezia . 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…. "[22] AllMovie stated that "his films — a seminal body of enigmatic and intricate mood pieces — rejected action in favor of contemplation, championing image and design over character and story. In 1980, Antonioni made Il mistero di Oberwald (The Mystery of Oberwald), an experiment in the electronic treatment of color, recorded in video then transferred to film, featuring Monica Vitti once more. A “noir in reverse,” “L’Avventura” is almost two different films in one: an austere, haunting and strangely disquieting first half where a socialite goes missing on a remote island while on a boat trip with her well-to-do friends, its chilly environment, as usual, is the perfect setting for the disaffected psychology of the characters (a fundamental element of all subsequent Antonioni films). "[26] Critic Roland Barthes wrote that Antonioni's art "consists in always leaving the road of meaning open and as if undecided," and claimed that his approach "is not that of a historian, a politician or a moralist, but rather that of a utopian whose perception is seeking to pinpoint the new world, because he is eager for this world and already wants to be part of it. Uscito nel 1966 il film è il primo della trilogia americana del regista italiano. CINEMA Si va da Cronaca di un amore di Michelangelo Antonioni a Goodfellas di Martin Scorsese. I was born in the mid-1960s, only a couple of months after Michelangelo Antonioni had completed a cycle of four films which made waves in the international film scene. Sandro, Anna's boyfriend, and Claudia, Anna's friend, try … And so it was that the day after the Cannes premiere, forty-odd artists from the festival, including Roberto Rossellini had written to Antonioni praising his daring. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. "[28], Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers. Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist. Perhaps emboldened by this affirmation, Antonioni would continue with what he described as works of searching; intricate and enigmatic mood pieces centering on disaffected, spiritually adrift characters suffering the emotional sickness of ennui, alienation, apathy and existential crises. And then she leaves and you go on looking at the road after she's gone. Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. My mother ... was a warm and intelligent woman who had been a laborer in her youth. "[31], American actor Peter Weller, whom Antonioni directed in Beyond the Clouds, explained in a 1996 interview: "There is no director living except maybe Kurosawa, Bergman, or Antonioni that I would fall down and do anything for. I introduced myself and told him that I adored his movies, his contributions to film, because he was the first guy who really started making films about the reality of the vacuity between people, the difficulty in traversing this space between lovers in modern day ... and he never gives you an answer, Antonioni—that's the beautiful thing. A product of European post-war cinema, Antonioni was described as a modernist in that he dared to push cinematic language forward, but he also attempted to express anachronistic morals and emotions (he sympathizes with the lovers in “L’Avventura” even if by the codes of modern society, they are backstabbers). He was buried in his hometown of Ferrara on 2 August 2007. The picture could be seen as an erosion of values—how friends abandon their compatriots for a shallow affair that’s likely not going to last, but Antonioni is actually operating on a more complex level and embracing their relationship, not condemning it (which is usually the case with the torrid affairs he depicts). La Notte is thus something of Antonioni’s update of Roberto Rossellini’s Journey to Italy from 1954. It was, as he described it, a type of film noir in reverse—a disaffected socialite goes on a boat trip with haute bourgeois friends only to suddenly vanish on a small and remote island; she is never found. Un sentimento indecifrabile e indefinibile. In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. Antonioni è stato spesso criticato per una certa presunzione mostrata nella realizzazione di questo film: per un verso nel merito dei temi trattati, per la spavalderia e il pragmatismo con cui li ha risolti; per l’altro verso è stata sottolineata la distanza tra le origini provinciali del regista e la grandeur dell’ambientazione e della storia. Ignorant in architecture, I constructed buildings and streets crammed with little figures. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. I met Antonioni three years ago in Taormina at a film festival. "[4] The Guardian described him as, "in essence, a director of extraordinary sequences," and advised viewers to "forget plotting, characters or dialogue, his import is conveyed in absolutely formal terms.