Antonioni’s first color film and his best film overall
Antonioni- like Fellini, Kurosawa, Ozu and the other early masters who started in b/w uses color like a weapon- expressive– he actually painted part of the landscape here (red of course), goes for very bold primary, a blue shack, yellow smoke from the factory
Richard Harris- this isn’t a bad performance but I wouldn’t call it a major accomplishment for him like it is for Vitti—apparently Harris punched Antonioni during shooting and left early (they used a stand-in). Harris asked why Antonioni wanted him to walk “diagonally” and Antonioni told him to just do it- haha
Work of Carlo di Palma as DP- their first collaboration
Antonioni’s sense of mise-en-scene and frame design has rarely been matched in cinema history—and how that and the architecture influence his characters is pure genius
Seems just that every frame be a distressing picturesque masterstroke
Antonioni auteuristic trademarks in theme—alienation, anxiety in the modern life and modern relationships (influenced by surroundings) industrialized landscapes
Meticulously composed frames—bleak
When we aren’t hit with the rich primary colors we’re swimming in rustic industrial gray color palatte and fog—a vendor on the street is selling something and Antonioni paints every item gray
Atomic energy, dark and depressing—tubes and pipes, poison gas and an apocalyptic like orange flame (Blade Runner) jumping up out of the stacks—debris, trash
I adore the soft focus opening and credits—industrial landscapes with that experimental score- it sets up the entire film so well formally and visually
Very creepy industrialized robot child toy
Antonioni literally painted the pipes at the factory
Shot of Harris outside Vitti’s store—stunner- my god
Post-traumatic shock from accident- she’s suicidal—this would make a great companion piece with Lynn Ramsay’s post-shock oeuvre which I adore—here the start is a car accident (Cronenberg’s Crash another)—a machine that did this to Vitti
The pink flowers—then the house with the wallpaper with pink flowers- visually arresting
Pond is yellow—the big boat that’s within arm’s length in the canal—unreal set pieces- they’re literally paired with Vitti in frame and going by their window
Fog all over the place- he’d bring this up often in his auteur as a not-so-subtle metaphor
A highlight shot (amongst a seemingly endless series of them in this film) is the camera from behind Vitti’s head showing her POV and everything is in soft focus like the opening credits.
Later she looks back and sees 4 characters in soft focus washed away by the fog
The blue painted shack they break, burn and deconstruct
Quarantine
Breaking up characters with red window frames
The red oil refinery
Harris goes soft focus as he’s conning men away for a job
Shot of Vitti off to the right with the moving ship through the window on the left
Vitti is really special here in the performance- what a great period of work for her
My one drawback on the otherwise flawless film is the long Sardinia island escape short story- it breaks up the form
Both actors red hair
Odd elliptical editing during their love making then cuts to an entirely pink room- so avant-garde- I love it
She deteriorates—at 110 minutes in she’s getting overtaken by the oppressive mise-en-scene like Von Sternberg’s mise-en-scene work or Welles The Trial
End on the factory pouring smoke with the industrial experimental score- perfection
So… I just watched this film. I’d write something, but I don’t know what. I think I need a moment to let it all sink in. Anyway, masterpiece. Big one. Agreed on his best film. Editing when Vitti was in Harris’s apartment reminded me of 2001’s ending and Mulholland Drive’s transition from Betty to Diane. God, I really don’t know what to say here. I mean… amazing.
I don’t have a major issue with this, but your use of the term “soft focus” here and on a few other pages is slightly inaccurate. The correct term to describe a shot where only a small percentage of the frame depth is in focus is “shallow focus” or “shallow depth of field,” and the part of the image that is blurry should be called “out of focus.”
Soft focus is a similarly important but rather different photographical technique. It is easy to get confused between the two, and I think the best way to visualize the difference is that shallow focus provides a blurry effect, while soft focus provides a hazy one. Essentially, dividing lines between objects or features are kept intact (albeit less pronounced) in soft focus with a sort of aura around them, but shallow focus distorts and completely obscures the edges of objects that are out of focus. Shallow focus can leave one portion of the frame in focus and another part not, while soft focus typically affects the entire shot.
I’m so happy you agree that Red Desert is his best film. I think so too. It’s phenomenal. I believe that for a filmmaker like Antonioni who is clearly very willing to go avant garde, the use of colour opens up so many doors and possibilities – I’m still wondering how exactly he managed to get the smoke to look yellow. I love L’ Avventura and it is an incredible achievement, but in its case, much like Von Sternberg’s Morocco in a way, I feel that it gains a lot of points due to the ending, which is, well, horrifying. Of course, I don’t think it relies on the climax as much as Morocco does, but L’avventura definitely offers us one of the most haunting and resonating last frames in cinematic history (it would influence many – Being There with Peter Sellers on water) and it magnifies the impact of the entire experience. Red Desert is quieter with its ending but I feel that the rest of the film is overall more even. Perhaps Antonioni’s defining trait is his ability to convey the characters’ isolation and suffocation by the industrialised modern environment through mise en scene, and from my experience, he reaches artistic heights here that he hadn’t before gotten around to with the three previous efforts – Red Desert is his magnum opus, you get the sense that is comes purely and directly from him. The presence of red is obviously vital to the premise of the story, but in order to bring out red Antonioni sets a greyish backdrop that completely takes over the entire picture and at some points literally swallows our protagonists. There are striking blues, greens (Vitti’s coat is a persisting and welcome artistic choice) and small portions of pink – pink as a colour gets its due during the dreamlike sequence, as Vitti is pushed over the edge and goes unhinged. The climax, with her self-destructive tendencies taking control and leading her toward the quarantined ship (it’s hard not to think of Bette Davis essentially sentencing herself to death by scarlet fever in Jezebel) is a triumph of mise en scene, use of colour and atmosphere that leaves an indelible impression. The end, with the remark about the birds not flying over the chimneys anymore and the industrial byproducts being now poisonous (turned yellow) lingers a bit, as does Vitti’s realisation that all she has to do is suffer through the rest of her existence. The greatest sequence in the film is for me the one with the fog – it perfectly encapsulates everything that Red Desert is about. Seeing people, hearing people and yet being unable to reach out to them, to connect with them. Feeling condemned and tethered to a kind of insufferable solitude, the haze of modernity and isolation swallowing you and those around you, blurring your vision, leaving you numb. There is an idea that the post traumatic shock has helped Vitti realise the desperation of her condition – I believe the scenes in the cabine manage to convey a sense of disconnection between all the individuals involved but only Vitti and Harris grasp it. The image of her once friends and family slowly disappearing in the fog is one that stays with us quite a bit, and I’d say it could be described as the essence of Red Desert in many ways. Ultimately, Harris being as selfish, callous, even monstrous as everyone else (if not more), Vitti is driven over the edge and becomes trapped in a state of silence and emotional seclusion that she eventually comes to accept. If the existential aspect (and it is highly existential) of Antonioni’s work in the context of modern world is taken a step towards the religious, his 60’s run could make for a great paring with Bergman’s faith trilogy – the inevitability of God’s silence. I find there’s much in common here, if we break it down thematically. Vitti is mesmerising in Red Desert. She’s very good in L’ Avventura, impressive in La Notte, incredible in L’Eclisse (she seemed to get gradually stronger in her performances), but in Red Desert she is unforgettable. Disassociation and existential angst have rarely been communicated better on screen. She is absolutely hypnotic. This is on par with Liv Ullmann’s work, even though Ullmann would go on to deliver about 10 or so performances as effective as this in her career. I believe Vitti is worthy of enormous praise here, and the film, while a masterpiece regardless, doesn’t resonate as well without the right vehicle for the existential terror Antonioni was so damn good at delivering. This is an absolute masterpiece.
@Georg- so good! thank you. Hey- if you have not already seen it, try to seek out Pawlikowski’s The Woman in the Fifth (2011) some time. It isn’t on this level but I think you’ll appreciate the stylistic similarities to Red Desert.
@Drake – yes! I remember you are an avid supporter of that one and I sought it out after watching Cold War, but it’s so hard to find isn’t it? It didn’t get much love at all upon release it seems. But I definitely have it on the queue and I’ll try to get around to it
@Georg- it was on Prime for quite some time – but doesn’t look like it anymore. No rush- just send up a flare when you get to it- I’d like to know your thoughts
@Georg – Great analysis of Red Desert. I go back and forth between this and L’ Avventura for his best film. I don’t know if I’ve ever seen a film that was so precise about every single detail regarding its colors.
I am curious to know your thoughts on Blow Up (1966) and its use of red streets/buildings
Who was the better director/actress/muse combination:
1. Michelangelo Antonioni and Monica Vitti (4 Films)
L’Avventura (1960)
La Notte (1961)
L’Eclisse (1962)
Red Desert )1964)
2. Jean-Luc Godard and Anna Karina (8 films)
A Woman Is a Woman (1961)
My Life to Live (1962)
The Little Soldier (1963)
Band of Outsiders (1964)
Alphaville (1965)
Pierrot le Fou (1965)
Made in USA (1966)
The Oldest Profession (1967)
Obviously Godard and Karina were more prolific, 8 films compared to 4
But Antonioni and Vitti had much more consistent quality
I might give the slight edge to Antonioni and Vitti as Karina was Not in 2 of Godard’s 3 best films, Breathless and Contempt. It’s close though and wouldn’t really have a problem with people picking either
So… I just watched this film. I’d write something, but I don’t know what. I think I need a moment to let it all sink in. Anyway, masterpiece. Big one. Agreed on his best film. Editing when Vitti was in Harris’s apartment reminded me of 2001’s ending and Mulholland Drive’s transition from Betty to Diane. God, I really don’t know what to say here. I mean… amazing.
[…] Red Desert – Antonioni […]
I don’t have a major issue with this, but your use of the term “soft focus” here and on a few other pages is slightly inaccurate. The correct term to describe a shot where only a small percentage of the frame depth is in focus is “shallow focus” or “shallow depth of field,” and the part of the image that is blurry should be called “out of focus.”
Soft focus is a similarly important but rather different photographical technique. It is easy to get confused between the two, and I think the best way to visualize the difference is that shallow focus provides a blurry effect, while soft focus provides a hazy one. Essentially, dividing lines between objects or features are kept intact (albeit less pronounced) in soft focus with a sort of aura around them, but shallow focus distorts and completely obscures the edges of objects that are out of focus. Shallow focus can leave one portion of the frame in focus and another part not, while soft focus typically affects the entire shot.
I think this picture shows the difference quite well:
http://www.bobatkins.com/photography/reviews/lensbabies/lensbaby_soft_focus_2.jpg
@Graham- this is great- thanks for sharing
I’m so happy you agree that Red Desert is his best film. I think so too. It’s phenomenal. I believe that for a filmmaker like Antonioni who is clearly very willing to go avant garde, the use of colour opens up so many doors and possibilities – I’m still wondering how exactly he managed to get the smoke to look yellow. I love L’ Avventura and it is an incredible achievement, but in its case, much like Von Sternberg’s Morocco in a way, I feel that it gains a lot of points due to the ending, which is, well, horrifying. Of course, I don’t think it relies on the climax as much as Morocco does, but L’avventura definitely offers us one of the most haunting and resonating last frames in cinematic history (it would influence many – Being There with Peter Sellers on water) and it magnifies the impact of the entire experience. Red Desert is quieter with its ending but I feel that the rest of the film is overall more even. Perhaps Antonioni’s defining trait is his ability to convey the characters’ isolation and suffocation by the industrialised modern environment through mise en scene, and from my experience, he reaches artistic heights here that he hadn’t before gotten around to with the three previous efforts – Red Desert is his magnum opus, you get the sense that is comes purely and directly from him. The presence of red is obviously vital to the premise of the story, but in order to bring out red Antonioni sets a greyish backdrop that completely takes over the entire picture and at some points literally swallows our protagonists. There are striking blues, greens (Vitti’s coat is a persisting and welcome artistic choice) and small portions of pink – pink as a colour gets its due during the dreamlike sequence, as Vitti is pushed over the edge and goes unhinged. The climax, with her self-destructive tendencies taking control and leading her toward the quarantined ship (it’s hard not to think of Bette Davis essentially sentencing herself to death by scarlet fever in Jezebel) is a triumph of mise en scene, use of colour and atmosphere that leaves an indelible impression. The end, with the remark about the birds not flying over the chimneys anymore and the industrial byproducts being now poisonous (turned yellow) lingers a bit, as does Vitti’s realisation that all she has to do is suffer through the rest of her existence. The greatest sequence in the film is for me the one with the fog – it perfectly encapsulates everything that Red Desert is about. Seeing people, hearing people and yet being unable to reach out to them, to connect with them. Feeling condemned and tethered to a kind of insufferable solitude, the haze of modernity and isolation swallowing you and those around you, blurring your vision, leaving you numb. There is an idea that the post traumatic shock has helped Vitti realise the desperation of her condition – I believe the scenes in the cabine manage to convey a sense of disconnection between all the individuals involved but only Vitti and Harris grasp it. The image of her once friends and family slowly disappearing in the fog is one that stays with us quite a bit, and I’d say it could be described as the essence of Red Desert in many ways. Ultimately, Harris being as selfish, callous, even monstrous as everyone else (if not more), Vitti is driven over the edge and becomes trapped in a state of silence and emotional seclusion that she eventually comes to accept. If the existential aspect (and it is highly existential) of Antonioni’s work in the context of modern world is taken a step towards the religious, his 60’s run could make for a great paring with Bergman’s faith trilogy – the inevitability of God’s silence. I find there’s much in common here, if we break it down thematically. Vitti is mesmerising in Red Desert. She’s very good in L’ Avventura, impressive in La Notte, incredible in L’Eclisse (she seemed to get gradually stronger in her performances), but in Red Desert she is unforgettable. Disassociation and existential angst have rarely been communicated better on screen. She is absolutely hypnotic. This is on par with Liv Ullmann’s work, even though Ullmann would go on to deliver about 10 or so performances as effective as this in her career. I believe Vitti is worthy of enormous praise here, and the film, while a masterpiece regardless, doesn’t resonate as well without the right vehicle for the existential terror Antonioni was so damn good at delivering. This is an absolute masterpiece.
@Georg- so good! thank you. Hey- if you have not already seen it, try to seek out Pawlikowski’s The Woman in the Fifth (2011) some time. It isn’t on this level but I think you’ll appreciate the stylistic similarities to Red Desert.
@Drake – yes! I remember you are an avid supporter of that one and I sought it out after watching Cold War, but it’s so hard to find isn’t it? It didn’t get much love at all upon release it seems. But I definitely have it on the queue and I’ll try to get around to it
@Georg- it was on Prime for quite some time – but doesn’t look like it anymore. No rush- just send up a flare when you get to it- I’d like to know your thoughts
@Georg – Great analysis of Red Desert. I go back and forth between this and L’ Avventura for his best film. I don’t know if I’ve ever seen a film that was so precise about every single detail regarding its colors.
I am curious to know your thoughts on Blow Up (1966) and its use of red streets/buildings
Who was the better director/actress/muse combination:
1. Michelangelo Antonioni and Monica Vitti (4 Films)
L’Avventura (1960)
La Notte (1961)
L’Eclisse (1962)
Red Desert )1964)
2. Jean-Luc Godard and Anna Karina (8 films)
A Woman Is a Woman (1961)
My Life to Live (1962)
The Little Soldier (1963)
Band of Outsiders (1964)
Alphaville (1965)
Pierrot le Fou (1965)
Made in USA (1966)
The Oldest Profession (1967)
Obviously Godard and Karina were more prolific, 8 films compared to 4
But Antonioni and Vitti had much more consistent quality
I might give the slight edge to Antonioni and Vitti as Karina was Not in 2 of Godard’s 3 best films, Breathless and Contempt. It’s close though and wouldn’t really have a problem with people picking either