The sky grows dark, and the streetlights come on. Leggi la scheda film completa. Sometime later, Piero and Vittoria are lying on a hill looking up at the sky. Al Palazzo delle Esposizioni per la rassegna Bergman 100, organizzata da CSC-Cineteca Nazionale e … In France, the film had 470,764 admissions. The 2004 Criterion Collection DVD edition of L’eclisse is among the most exemplary attempts to return Antonioni to us, a release compelling new readings of the film. Another man lost 50 million. Film recensito da Spleen, Generi: Sperimentale - Drammatico - Romantico. L’eclisse, 1962; Deserto rosso ... Antonioni, anni dopo, ribadirà egli stesso la sua diversità e la sua unicità e cioè «di aver imboccato da solo la strada del neorealismo». In Antonioni’s case, the boundaries are particularly porous. After premiering on April 12 of 1962 at the Cinema Mignon in Milan (L’eclisse was shot in the latter half of 1961 between approximately 19 July and October), the film enjoyed little commercial success anywhere in the world with the notable exception of Japan.1  Alain Delon did not attend this Italian premiere, reprising his role as Piero and not showing up (Delon did attend the presentation of L'eclisse in Cannes on 7 May 1962). In reality, nothing much happens. Altri film dello stesso regista: L'Avventura, L'Eclisse. There is even the sense that--unlike most film--all scenes are created equal, none more important thematically than others. For the naïve viewer the answer is an unfamiliar one:  the segment is a gold mine of concealed, thematic riches, as opposed to the pleasures of most commercial films, overt sex and violence (“Kiss Kiss Bang Bang”). Lascia un commento Annulla risposta. )*. This aspect can deny usual viewer expectations in which one scene is meant to build upon another, in which narrative hills and valleys occur. . After all, the film is European, is 45 years old, is in black and white, has subtitles, and features actors who are not household names in the United States. In fact, Il sorpasso--an ostensible comedy--is as infused with Death as is L'eclisse or Rossellini’s Viaggio in Italia, the latter film itself a reworking of Joyce’s “The Dead.”, L'eclisse consists of a series of loosely linked episodes. Silenzio diverso da… L'eclisse, like all of Antonioni’s films, is an intricately conceived structure that is held together by thematic as opposed to conventional storytelling mortar. *, the present common currency of 13 European nations. Testi di riferimento: Roberto Calabretto, Lo schermo sororo, Venezia… This leads once again to the impression that we are watching a drama of forms [Brunette’s italics] as much as a drama of people.”, Brunette also uses the adjective, “permeable,” to describe the boundaries that in general exist between the individual films of an auteur. Sometime later at his office, Vittoria and Piero kiss and embrace playfully on the couch, even wrestling on the floor like children. Gelo improvviso. ‘Na bella pennichella. Or, alternatively, employing the International Phonetic Alphabet:  ['eʊər]. Take, for example, the breaking of the ashtray in the opening scene of L'eclisse, or its atavist in L’avventura, the breaking of the ancient amphora by Raimondo. And what are we to make of the broken guitar of Blow-Up? Director Martin Scorsese, in his documentary about Italian films titled My Voyage to Italy, describes how the film haunted and inspired him as a young moviegoer, noting it seemed to him a "step forward in storytelling" and "felt less like a story and more like a poem." L'eclisse (The Eclipse; Pronunciation of “eclisse”*) begins at the end. Film critic Robin Wood complained that this and all films made by Antonioni after L'Avventura were "self-indulgent," "defeatist" and a "retreat into a fundamentally complacent despair. Por Mónica Delgado. Attraverso i suoi film egli ci ha dato questo suo verso e soltanto questo.” ([Antonioni] is like certain solitary birds that have but one song, a tune they sing all day and night. When they reach her building, Vittoria unties a balloon from a carriage and calling to her new friend Marta tells her to shoot the balloon with her rifle (Marta previously having shot rhinoceros and elephants in Kenya), which she does as it ascends into the sky. *  In addition to these narrative and other descriptors there are also certain stylistic features present in almost all of the films, examples being Antonioni’s long takes, a general avoidance of all things theatrical (preferring, for example, naturalistic settings as opposed to sets), frequent violation of standard cinematographic rules such as the “180 degree rule,” avoidance of standard cinematic techniques such as shot-countershot, lack of exposition, frequent use of ellipses in scene transitions, the meticulous habit of carefully “framing” characters in a particular, “Euclidean” manner with their environment (characters often in profile at 90 degrees with one another), recurrent employ of favored images and motifs such as window grills, reluctance to employ commentative music, preference for exotic, often aquatic-themed location shooting, tangential, apparently unmotivated scenes interrupting continuity, frequent casting of Monica Vitti, and many others. Then he breaks it into pieces and makes it again.”). [9] Nowadays, few American university students have ever even heard of Antonioni. (Acceptable substitutes for the word “theme” might be form [à la Brunette], motif, pattern, organizing principle, trait, or even issue or concern.) *  No gratuitous events occur, for even the smallest action bears thematic import. Meanwhile, back at the Rome Stock Exchange, Piero is busy making trades. Outside the building, Vittoria and her mother walk to an open market nearby. L’eclisse di Michelangelo Antonioni sulle note dei Joy Division. "[12] Peter Bradshaw of The Guardian called the film "visionary" and argued, "Antonioni opens up a sinkhole of existential dismay in the Roman streets and asks us to drop down into it. Si tratta del primo capitolo della “trilogia dell’incomunicabilità”, presentato in concorso al 13° Festival di Cannes, fischiato dal pubblico ma vincitore del “premio della giuria”, per il tentativo di sviluppare un nuovo linguaggio cinematografico e per la bellezza delle immagini. Credentials are not required for admission; the right high school drop-out with a native intelligence, good eyesight, and street smarts might do as well, or better, than a highly titled intellectual with an impressive curriculum vitae who is utterly blind. In this regard, scenes may appear digressive, arbitrary, and inexplicable. (Antonioni seems to have confronted the criticism that Zabriskie Point did not accurately portray America by suggesting that his artistic goal was not to recreate in a literal manner a state which he admitted was foreign to him.) Dopo un lungo apprendistato come critico, sceneggiatore e aiuto-regista, realizza alcuni documentari che lo segnalano all'attenzione della critica ed esordisce con Cronaca di un amore (1950, Nastro d'argento), film che segna la fine del neorealismo e la nascita di una nuova stagione del cinema italiano. (Pauline Kael, no admirer of L'eclisse, referred to the film as “Some like it cold.”)  To paraphrase Socrates, the unexamined Antonioni film is not worth viewing. Films that don’t even seem to know what they’re doing may nonetheless do what they too well know--and thus act out their own repressions for all to see.”)  In an Antonioni film, if explicit sex or violence occur, the real action--with regard to directorial intent--always lies elsewhere. After he accidentally tears her dress, she goes into a bedroom and looks at the old family pictures. Thus, there is no one particular film that I would like to make; there is one for every single theme I perceive. it seems productive to efface boundaries between films.” . The objects and people that populate Antonioni’s Rome are less specific and more generic. "[13], The final sequence is especially praised, with Jonathan Rosenbaum[14] and others regarding it as one of the more effective scenes in Antonioni's oeuvre. Allowing one’s attention to be attracted by each little thing has become a vice of the imagination. The film retains a formal playfulness, with its open form offering different ways of watching and projecting onto the characters [...] and the overall atmosphere of ennui, so beautifully constructed through sound and image, still feels heavily familiar. The opening scene concerns the breakup of Vittoria and Riccardo. Curiously, not a single, major film of Antonioni takes place entirely within the confines of a single city. Per Umberto Eco, con L’avventura eLa notte, … When Marta's dog Zeus gets free of the house, the women take off after him. For example, the time line is linear, and does not involve flashbacks or other manipulations of chronology. [2] The film is considered the last part of a trilogy, and is preceded by L'Avventura (1960) and La Notte (1961).[3][4][5]. The final seven minutes of Eclipse suggested to us that the possibilities in cinema were absolutely limitless. )*, The Wasteland I saw with my own eyes the Sibyl at Cumae hanging in a cage, and when the boys said to her: “Sibyl, what do you want?” she answered: “I want to die.”. Some two hours later this rupture is reprised when both Vittoria and her new lover, Piero, fail to meet at their appointed rendezvous at film’s end. When she finally reaches him, she does not speak and he, thinking it's a prank call, yells into the phone and slams down the receiver. In lieu of the kind of specific allusions and references that populate all of Ulysses, in L'eclisse there are instead a number of major organizing themes which repetitively “explain” one scene after another. Indeed, the film is even less well known today than it was at the time of its release. Antonioni rompe con el neorrealismo sin abandonar el humanismo, sólo que este nuevo humanismo fílmico es bastante menos moralizante que el anterior, su lenguaje crítico es menos evidente, su origen burgués y acomodado ataca... Continua la lectura Retrieved 20 January 2007  from: ). This is true, if only because life itself--however chaotic its surface--has its patterns. And I am excited by these themes, day and night. . With regard to America, ignorance concerning Antonioni and in particular, L'eclisse, may not seem surprising. As William Arrowsmith has pointed out, Antonioni’s canon is a true, homogeneous œuvre in the sense that his films tend to be contiguous with similar themes appearing over and over again. He hears her typing. [7], On its theatrical run in Italy, L'Eclisse grossed a total of 305 million lire. Biarese and Tassone (p. 155) quote R. Benayoun as observing that with regard to Antonioni’s The Passenger, “L’avventura di questo Vinto si chiude con la sua Eclisse.” (“L’avventura of I vinti concludes with L'eclisse.”)  The number and degree of similarities and correspondences between L'eclisse and other Antonioni films are remarkable.2. 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. L'Eclisse (English: "The Eclipse") is a 1962 Italian drama film written and directed by Michelangelo Antonioni and starring Alain Delon and Monica Vitti. That evening, Vittoria tries to call Piero, but his phone is busy. The irony here is that the narcissism and lack of insight of both Piero and Bruno prevent them from truly recognizing themselves in a mirror or, in the case of Bruno, from recognizing himself as the character Piero in another film, L’eclisse. Another neighbor, Marta (Mirella Ricciardi), calls and invites them to her apartment nearby. .”  If Piero could step off the screen and see L’eclisse my guess is that he, too, would fall asleep. For instance, the lengthy segment of L'eclisse regarding the flight to Verona does not advance the narrative of the film in any obvious way. Marta talks about the farm she and her husband have in Kenya. Following the announcement of a colleague's fatal heart attack and a moment of silence in memoriam, the room erupts back into frenzied activity. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. The richness of an Antonioni film is such that a single viewing is generally never sufficient to “see” the film. C’ha un Flaminia Zagato, una volta sulla Fettuccia di Terracina m’ha fatto allunga’ il collo!” / “Have you seen L’eclisse? "[12] L'Eclisse won the Special Jury Prize at the festival and was nominated for the Palme d'Or (Golden Palm). . as if Antonioni had made only one film instead of many (reminiscent of the observation by Jean Renoir that “A director makes only one movie. Piero drives back to his office on Via Po near Via Salaria, where he must break the bad news to his investors. Wilson Company. A. è autore, oltre che di racconti, anche di saggi come la raccolta a cura di C. Di Carlo e G. Tinazzi Fare un film è per me vivere ‒ Scritti sul cinema (1994). A tour guide of a calibre less than that of Virgil who accompanies a tourist less brilliant than Dante might, however, be of some modest assistance in the descent and ultimate ascent into Antonioni’s films.*. One reason that might in part explain the homogeneity of Antonioni’s films, as well as the recurrence of certain patterns, is the relatively restricted range of his cinema. Such a lack of “outsight” is a grave sin of many of the characters in the films of Antonioni. L’essere e il nulla. She says that's how she feels around him. They enjoy a playful walk through a park. They agree to meet that evening at 8 pm at the "usual place" near her apartment. Not to be confused with the “euro” (€), the present common currency of 13 European nations. È il capitolo conclusivo della cosiddetta "trilogia esistenziale" o "dell'incomunicabilità", segue L'avventura e La notte. She says "I wish I didn't love you or that I loved you much more." Because virtually everything in an Antonioni film, particularly L'eclisse, is potentially significant, the films--however elegantly simple on the surface--are among the most “dense” films ever made. In the first case the broken ashtray speaks to the profound theme of the volition of inanimate objects, and is linked to the later ripping of Vittoria’s dress as well as to the broken piece of wood floating in the “barrel” (200 L open top steel drum) of the Eur. They converse playfully, kiss each other through a glass window, and then kiss passionately. The narrative trajectory is conventional in many ways. In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. Piero arrives and tells her he bought a new BMW to replace his Alfa Romeo. Dopo una burrascosa fase di produzione, Antonioni presentò a Cannes, nel 1960, il suo L’avventura. It is my belief that Antonioni constructed L'eclisse in the most meticulous and self-conscious of manners. In his films he has sung to us but this one song.”). L'eclisse has never been a popular film. «L’associazione è nata nel 2011 per iniziativa di Elisabetta Antonioni, nipote del regista, e intende tutelare, valorizzare e promuovere l’attività artistica di Michelangelo Antonioni» . On the way, Vittoria is fascinated by the clouds. In La notte, Michelangelo Antonioni presenta la sua lucida, essenziale analisi di tre fondamentali problemi borghesi. Back in her apartment, Riccardo calls for her, but she hides and doesn't answer. His visually driven style and provocative approach to narrative raised the bar of what constituted popular filmmaking, and audiences at the time rose to the occasion to embrace it."[19]. The next day, Vittoria and Anita fly to Verona in a small airplane. . L'ECLISSE (IT/FR, 1962) di MICHELANGELO ANTONIONI. *, One might say that for Antonioni, theme is plot. Time has done little to alter this situation. As will be shown later, to the model, Verushka of Blow-Up, London and Paris are somehow the same. He adds that the ending is "a frightening way to end a film... but at the time it also felt liberating. Virtually every scene in a mature film by Antonioni may be analyzed in terms of the specific theme being highlighted. An Antonioni film requires active engagement by the viewer. Le amiche, Il grido, L'avventura, La notte, L'eclisse, Deserto rosso (1964). Questo getta un ombra sul loro rapporto che si sfalda. quando vedo ‘Deserto rosso’  mi rendo conto che è un film strano e mi dico, ‘Come sono stato pazzo! The plot itself is threadbare, and might be explained as “Girl loses boy, girl finds new boy, girl and boy lose each other.”  (As opposed to Raymond Bellour’s observation:  “ ‘Boy meets girl, boy loses girl, boy gets girl’… organizes, indeed constitutes, the classical American cinema as a whole.”  Quoted by James MacDowell. E’ il 1966 e Blow-Up si colloca all’interno della Settima Arte come svincolo verso la modernità. Sometime later, Vittoria visits her mother (Lilla Brignone) at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. L’eclisse is a remarkable work. What a strange and brilliant film it is.