Word: antonioni
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Dates: during 1960-1969
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...Grido. A mournful little movie, made in 1957, in which Italy's Michelangelo Antonioni first fumbles with the material he later handled so powerfully in L'Avventura...
...Grido is the rough draft of a masterpiece. In it Michelangelo Antonioni mines and examines the material that he later elaborated in L'Avventura, his sublime lament for the living dead...
...wide and still and parqueted with poplars, silver the screen like scenes from the hand of Ruisdael; but the script is often awkward and the acting consistently crude. Yet the picture is a moving experience. Il Grido means The Cry, and the cry comes from the heart. With it, Antonioni opens the aorta of his talent and releases the cold grey mainstream of his feeling, the chilling theme of all his art: that modern man has somehow lost the meaning of his life, that God alone knows when he will find it again, and that God may not exist...
...sometimes one hand is in one pocket (curiously, two hands are never in one pocket, nor is one hand ever in two pockets). He may or may not be following the woman-it is almost impossible to tell because he, like she, seems in no hurry. The director (Michelangelo Antonioni? Alain Resnais? Federico Fellini? Francois Truffaut?) is definitely in no hurry. The movie (La Notte? L'Av-ventura? La Dolce Vita? Hiroshima, Mon Amour?) is 50 minutes long already, and still the woman is walking, the man is walking, and the only real involvement anywhere is occurring among people...
...Walk serves no technical purpose other than, as its innovators tell it, to re-create the aimless wandering that is so much a part of Life. Asked why his characters walk so much, Director Antonioni is indignant: "Why did Joyce end Ulysses with a monologue? Why does Bergman always talk about...