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Red Desert

The story of Red Desert, Michelangelo Antonioni's final film has the merit of a linear simplicity. A woman, the wife of an industrialist of Ravenna, after a car accident, hath been sick with nerves. To say that is neurotic is an understatement, we are almost at the point of insanity. The lady suffers especially in a continuous feeling of fear. All the terror strikes: the factory of her husband, the health of the child, his loneliness, relationships with people, nature and things. Capita in Ravenna, a young entrepreneur looking for technicians to set up a factory in Argentina. He, he, too, which seems to suffer the same anguish, is a bit 'of the court the woman who, in a time of crisis (he feared that his son was ill with infantile paralysis) gives him. That's all.
a closer look is adultery traditional (so to speak) of the bourgeois type. Adultery that is consumed by anxiety bovaristica. This is not new to Antonioni who comes from middle class and interprets the crisis. If anything new is the explicit use of the neurosis that is a morbid condition that affects more than the medicine that culture, with the correction, however, to project the symptoms on a background, in fact, culture. So Red Desert is the description of a neurosis, as is often the case today, is grafted directly into the source of the historical situation of alienation and capitalist industry. Simple disease at the time of Charcot, neurosis, Antonioni's film, easily becomes the human condition. The fact is that while the neuroses remained as it was, or what the story is usually called history, has run and has moved vested with a meaning that once had.
The comparison with some films of Bergman, however, could enlighten us on the specific nature of the operation of Antonioni. It would then Antonioni is more modern in the sense of Bergman to represent and be part of a society in which the process is more advanced loosely than in the Swedish director. Bergman also describes a neurosis, but while not falling into a kind of positivistic clinical characterization and preserving the cultural implications, provides a natural kind of objective distance between himself and the character. In Red Desert, however, Antonioni is identified with the protagonist. It really is not a character in Antonioni to be afraid but, even with the relaxations and filters your art, Antonioni himself. We will say with this is that Antonioni neurotic? I do not say of course, say instead that there is in him neither the will nor the desire to get out of neurosis, that is, to give a name to the crisis history that he nevertheless clearly indicates that the real cause of the disease. Antonioni stubbornly held within the limits of his character: he wants us to believe that he does not know a point more than his adulterous bourgeois. In this way he manages to escape the temptation is true ideological, but is likely to fall but in the abstraction of a continuous kind of dreamlike wonder.
In Antonioni's film, there are two realities, one for men and that of things. Things moved in the anguish of the men who, perhaps for this reason, are, about the things and drawn, random anecdotes described in weakness.
No human face in Red Desert is so mystical and real as the wall pieces, tubes, the paper and countless other objects on which the goal of Antonioni lingers with a thoughtful attention, luicida, delirious. The fact is that Antonioni sees the world through the eyes of the protagonist, and while this has nurtured relationships with things, has none with men. Antonioni does not want to dirty their hands with psychology, this slurry may only human and so are passionately dedicated to things. Red Desert is without doubt the Italian film in which the color has been used so far with more elegance, plastic capacity, skill, no doubt Antonioni had never done things to say, we allow the pun, so many things. But as in the representation of informal painting and decoration Muslim, it seems sometimes that the human figure in the Red Desert is one too many. Tant 'is that the best parts are those, such as the sequence of the story, in which the action, already tenuous, will stop altogether. Monica Vitti is, with skill and intensity, the main character and we must recognize that his neurosis was credible and yet does not compromise the sincerity of the violence and brief love affair. Beside her, Richard Harris, the lover, a difficult part, manages to be very effective. Alberto Moravia

L'Espresso
1/11/1964

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Among full-length and long-range assembly

The night, Michelangelo Antonioni (1961), Golden Bear at the Berlin Film Festival Silver Ribbon and director David di Donatello for Best Film.

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There are two perspectives to understand and implement a process of signification cinematic treat the cinema as a representation of reality in respect of its inherent ambiguity in respect of the interpretation or subjective (and relative) of it that the subject define, or understand the film not as a simple reproduction of reality, but as an interpretation of its processes, so as to build in advance a sense of what is portrayed on the screen, in a report to the more coercive towards the viewer. So the former is possible, with appropriate forms of expression, the autonomy of the person to leave the production of sense of reality, whereas in the second, to establish the assembly as a tool suitable for re-interpretation of reality, giving centrality to the dialectic of images and production of meaning that was previously intended to achieve.
You could then define the internal assembly as a technique for non-fitting, where the representation of reality is in accordance with its essential characteristics, or in respect of the photographic space-time continuum, in fact any event must have a specific position in priori, the goal is to capture filmically the inherent ambiguity of reality.
tools which offers a view of nature are the real depth of field and the plane sequence: the PS is a plan that only performs the functions of a sequence or scene (mobile forms) with P.di C. is realized, however, the arrangement of objects and characters on different levels and with their mutual interaction (static content).
Assembly connotative arises, however, on variables such as establishment of audio-visual sense. This is done through an interpretation of the meaning of reality, reality is not as mechanical phenomena, but interpretation of the articulation of its internal relations; fitting as the production of meaning, as the collision of shots and planes (side by side, against each other), as well as assembly relationship / conflict between floors, as a conflict within the same compositional shot, the production of meaning even in the setting up of audio-visual relations.
Ultimately, assembly dialectic (or connotation) is an assembly that is structured on the basis of a conflict, which by all its evidence and whose main purpose is that of signification. For the conflict
S. Eisenstein composition within the frame is somewhat of a nucleus, a cell assembly, which is governed by the law division with the increased tension of the conflict. The assembly is a quantum leap of the internal composition of the shot.
The attraction for us is any fact presented, published and checked, intended as a pulse that has a certain effect on attention and emotion of the viewer in a certain direction, indicated by the end of the show is being made. From this viewpoint, the film can not be limited simply to show, presentation, ie, of certain events: it must be rather a biased selection of events, free of duties strictly narrative, such a modeling exercise on the public in accordance with psychological the aim pursued.
On the other hand, the opposite could be said, you can choose to support the documentary, as an expression of reality in its causal factors and inevitable. In this sense, the film wants to provoke an interest in the viewer without artifice or re-construction "Baroque", in a way simply "sincere". For
Joris Ivens - one of the most important documentary film history, perhaps - is the "here and now" what defines a litmus test of the sensitivity of the filmmaker. The camera fixes the moment, and no other devices.
Yet, not only this. The filmmaker should always bear in mind what has to serve the movie you are doing, why and for what result is achieved. So symbolically it is claimed that the filmmaker must have three eyes: one eye looks at reality through the viewfinder of the camera, while the other remains wide open to everything going on around the small image contained in the frame. A third eye, so to speak, must face the future.

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Cowboy: Health .....

Adam Kesher: Health
her
Cowboy: beautiful evening!

Adam Kesher: Yes

Cowboy: I would like to thank you for having left his hotel and he came all this way to come to meet me.

Adam Kesher: Imagine ... What in mind?

Cowboy: Well, well! Here is a man who can not wait to get to the point. She is anxious to know, right?

Adam Kesher: Do you believe?

Cowboy: The attitude of a man ... the attitude of a man goes hand in hand with what will be his life. Do you agree with this?

Adam Kesher: Yes

Cowboy: She said so because he thought that was what I wanted to hear or because he has thought about what I said and believes that this is so?

Adam Kesher: I agree with what he said, convinced

Cowboy: What did I say?

Adam Kesher: What determines the attitude of a man roughly his life

Cowboy: So since you agree ... must be a person who do not care very comfortable life?

Adam Kesher: And why?

Cowboy: She stopped only for a second and think about it. Can do it for me?

Adam Kesher: Okay. I'm thinking.

Cowboy: No, she is not thinking. She is too busy to think about doing the sly. I want you to think and stop being the sly. It could do for me?

Adam Kesher: Look, you tell me where you getting at? Tell me what you want me to do?

Cowboy: Sometimes there is a coach, how many drivers are used to a coach?

Adam Kesher: An

Cowboy: So let's say I'm driving this car, and if she corrects her attitude can sit next to me ...

Adam Kesher: Okay

Creative Audigy 2 Zs Static

widely Eyes closed

A look of sudden bursts, among the headlines in the daily life of a young New York couple, exposing its true essence, the uncertainties, contradictions, even the most hidden instincts .
The characters are drawn in a social context, the haute bourgeoisie, to whom it belongs only to adoption, because history, even before social history is a private individual. The
narrative of the story is marked by a joint which would result in irreversible: given some initial situation of equilibrium, and data in the form of classic narrative cinema, a series of events imbalance, apparently will return in the final to a situation to re-balance, because something has changed, even before the characters in the story, as the audience to hear.
As in every other story of the director, a worm enters the plant rational man-made, there lurks, insidiously, to corrode in very close formation.
And this happens on two sets of levels, both obvious and yet, both, also, deeply complex: jealousy and curiosity.
obvious, because both of these human feelings stroke, unequivocally, the route taken by the characters in the story; complex, because this route, which is mostly an irrational process, is directed towards a goal that is beyond the control of man: the unknown of the human soul.
Again a topic dear to the director: the man "enter" to unearth the true nature of man, but was forced to surrender before the incomprehensible plot of his mind.
The couple at the center of the observation is a pair prosperous, dynamic and fruitful, where the failures of one are filled in a complementary manner, the quality of the other, yet also has a couple numb, bored, due to their habits.
The system consists of, and is now autoreggientesi apparently unassailable from the outside, is altered in its very own premises.
to blow up the balance is, in fact, just an unexpected revelation: (the wife tells her husband that some time ago would have been willing to leave him for another man and, thus, to derail everything, marriage and young daughter "If only he had wanted me").
One moment, intense lightning, which is emphasized by all all the desires and passions, is able to question the project of a lifetime, marital and individual.
From this point on will trigger the perverse mechanism of jealousy is an obsessive thought that grips the mind of her husband, able to sweep away the certainty of a stroke, the very first time, to his wife. What remains, thus, is only a fixed image: time sex in which his wife is unfaithful with another man.
This image becomes invasive, all-encompassing, a vanishing point with no return. And 'all the curiosity that drives the man in his Homeric journey around the underlying plot of his soul, suddenly dispersed.
and objectivity of reality is replaced unreal dream, without a clear boundary has been given to understand the characters and the audience.
A man and a woman love each other, build a life together, time will stabilize, the material support them, but there is something that can not be controlled, the deepest instincts, the more hidden aspects of the psyche, and then all becomes a relative unknown around tremendously.
And at this point is dealt the hardest blow that ever could be given by the director: the only thing that makes life worth living, love, is unstructured, made in its essential terms.
Sex, passion, the charm of novelty, the taste of different, to the lowest perversions of the flesh, everything is love, or love is not everything?
The film ends with an exchange of words between the two protagonists that leaves no way that breaks the wind, which makes it impossible to turn back
Bill (her husband): What do you think we need to do?
Alice (his wife): I think first we should thank fate, thank you for letting us out without any damage from our adventures, both real ones from those who only dream of ... the important thing is that now we are awake, and I very much hope that will remain so for long.
Bill: For ever?
Alice: No, we do not use that word, I scares.
The camera lingers for a while on the PP of the woman, and yet her: There is a very important thing that we have to do as soon as possible ...
Bill: What?
Alice: ... fuck ...
The dividend is clean, and credits left annoyed, angry, touched in the most intimate convictions.
But it is a challenge ... is the cinema of Kubrick.