• 4th feature but first in the “Antonioni style”—at least fully- puts lonely, selfish characters (mostly well off and good looking) in alienation amidst gorgeous and vast landscapes and architecture– the main picture above of a man and would would be gloriously recreated film after film
  • Released in the US after L’vventura after that success in 1960
  • So eloquent in mise-en-scene space, walls as canvas and body language/posture—
  • Antonioni often leaves the
  • released in US after L’Avventura
  • the mystery of Rosetta’s suicide attempt is answered here more clearly than it would be in his future films- there’s more in the text here than his works that would follow- the strongest part of the film is the mystery of why she does it—when we find out- it’s more melodramatic
  • diverting plots moving from woman to woman amongst this group of “friends” (very loose) as he often would later as well—masterful control of the camera
  • definitely a rough draft for L’Avventura with the gorgeous beach and island just out of reach
  • Silver Lion Venice
  • Ensemble of beautiful people
  • Some location shooting in Turin
  • Infidelity, mystery, coldness, long takes framing, moving, reframing within scene- Renoir—switching of leads and we glide between them
  • Standalone gorgeous shots – bottles blocking mise-en-scene like Von Sternberg—another shot through the Venetian blinds
  • Yvonne Furneaux is a standout- hypnotic- looks destined to be a star
  • Oddly split into two parts- literally with intermission- 106 min movie
  • At times Antonioni pointedly glimpses at the lives of secondary background characters outside this group of friends—we have the housekeeper sneaking off with the boyfriend- it’s his way of saying this human disconnect, frailty and triviality goes on with all people
  • A great gorgeous dark alley shot after Rosetta gets dumped again
  • Wonderful train station farewell- unrequited (of sorts- I mean she just chooses another path) love final scene
  • R/HR leaning HR with another view