I’ve had “L’Eclisse” in my DVD player for more than a month now. Except for one night when I took it out to watch “Battle of Algiers” again, the 1962 Italian modernist staple hasn’t left my room. The Netflix envelope is literally collecting dust and, had Antonioni not passed away this summer, I’d probably feel worse for neglecting this film for so long.
I had a similar problem with “L’avventura,” the first film in the ‘trilogy’ “L’eclisse” is a part of. Both films, along with “La notte” deal with the same theme of alienation in the modern world and have put me to sleep, which is kind of embarassing for me since I usually love films from this era and on similar subjects. But there’s something about Antonioni that I haven’t ever gotten.
In “L’avventura,” I’d argue that Monica Vitti is captivating. She relays a sense of emptiness in her character even on the boat in the first scenes. Where one might suspect naiveté, in an Antonioni film that is quickly transformed into a bleak and empty understanding of the world and the realities that do little to turn this view around. Vitti’s control of her character’s energies and tone throughout the entire film is superb… But it took me two tries to be able to stay awake during “L’avventura” without nodding off once or twice.
Maybe it’s because “L’Eclisse” is a more intimate piece but Vitti isn’t as dominating in her scenes… coming off at times as a blonde, whiney version of Anna Magnani in “Mamma Roma.” I think I’ve got about 20 minutes left in the film (with any luck, I’ll finish it tonight) but I really can’t wait until I’m finished with it. In the film world, Antonioni screams slow moving. But they’re slow moving against a fast-paced world, filled with modern people living modern lives. “L’Eclisse” is a perfect example of that. Vitti’s character directly contrasts her environment when she almost drearily intermingles with the stockbrokers in the first parts of the film. She comes off as incredible self absorbed unless one can take a closer look at the materialistic natures of nearly all the characters surrounding her.
But it’s Antonioni’s ability to play with contrasts that makes me feel like it’s such a sin to not enjoy these films. When it comes to portraying lonliness on screen, the Italian director does it without shedding tears, without over dramatizing loss of love, and by keeping it so disturbingly real, the harrowing feelings still resonate.
Even if it’s going to keep me from getting “Grindhouse” from Netflix, I’ll force myself to watch “L’Eclisse” again if it kills me.
I can do Bresson marathons… there’s no reason why I shouldn’t be able to pull this one off!
L’Eclisse — wake me up, please
09 17, 2007
I’ve had “L’Eclisse” in my DVD player for more than a month now. Except for one night when I took it out to watch “Battle of Algiers” again, the 1962 Italian modernist staple hasn’t left my room. The Netflix envelope is literally collecting dust and, had Antonioni not passed away this summer, I’d probably feel worse for neglecting this film for so long.
I had a similar problem with “L’avventura,” the first film in the ‘trilogy’ “L’eclisse” is a part of. Both films, along with “La notte” deal with the same theme of alienation in the modern world and have put me to sleep, which is kind of embarassing for me since I usually love films from this era and on similar subjects. But there’s something about Antonioni that I haven’t ever gotten.
In “L’avventura,” I’d argue that Monica Vitti is captivating. She relays a sense of emptiness in her character even on the boat in the first scenes. Where one might suspect naiveté, in an Antonioni film that is quickly transformed into a bleak and empty understanding of the world and the realities that do little to turn this view around. Vitti’s control of her character’s energies and tone throughout the entire film is superb… But it took me two tries to be able to stay awake during “L’avventura” without nodding off once or twice.
Maybe it’s because “L’Eclisse” is a more intimate piece but Vitti isn’t as dominating in her scenes… coming off at times as a blonde, whiney version of Anna Magnani in “Mamma Roma.” I think I’ve got about 20 minutes left in the film (with any luck, I’ll finish it tonight) but I really can’t wait until I’m finished with it. In the film world, Antonioni screams slow moving. But they’re slow moving against a fast-paced world, filled with modern people living modern lives. “L’Eclisse” is a perfect example of that. Vitti’s character directly contrasts her environment when she almost drearily intermingles with the stockbrokers in the first parts of the film. She comes off as incredible self absorbed unless one can take a closer look at the materialistic natures of nearly all the characters surrounding her.
But it’s Antonioni’s ability to play with contrasts that makes me feel like it’s such a sin to not enjoy these films. When it comes to portraying lonliness on screen, the Italian director does it without shedding tears, without over dramatizing loss of love, and by keeping it so disturbingly real, the harrowing feelings still resonate.
Even if it’s going to keep me from getting “Grindhouse” from Netflix, I’ll force myself to watch “L’Eclisse” again if it kills me.
I can do Bresson marathons… there’s no reason why I shouldn’t be able to pull this one off!