Word: antonioni
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Dates: during 1980-1989
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...MYSTERY OF OBERWALD Directed by Michelangelo Antonioni Screenplay by Michelangelo Antonioni and Tonino Guerra...
Michelangelo Antonioni is a restless eminence. For more than 40 years he has been testing the limits of film narrative-as a young critic and documentarist, as a screenwriter in Italy's neorealist cinema, as the director of such parables of alienation as L'Avventura (1960) and Eclipse (1962). And while he expanded the viewer's understanding of the way stories can be told, he helped change the way the world is seen on film. In Red Desert (1964), he reflected the industrial and emotional decay of modern Ravenna in skies streaked like a sulfurous rainbow...
...assassinate her-for Edwige Feuillère and Jean Marais, who played it on the Paris stage in 1946 and in a film version in 1948. Tallulah Bankhead brought it to Broadway in 1947 (but without her original costar, the young Marlon Brando). Thirty years later, Monica Vitti, whom Antonioni had made a star with L 'Avventura, would call on her old mentor to collaborate on the project for RAI, the Italian television network. But Antonioni saw no challenge in restaging the play. Instead, he would shoot the production on videotape, and then transfer it to film...
Vitti and Branciaroli, two handsome and appealing actors, follow Antonioni's cue. There is little passion in their voices, even when the queen and Sebastian over come their initial distrust and become lovers to the death. No surprise here: Antonioni is the man who made aleatory music out of monotone in L'Avventura. But there is feeling aplenty conveyed through the vibrant orchestration of color. Each character is given his own "aura"-a kind of placenta of color that indicates his passion or humor. And every time the queen's mood changes, her surroundings change too, like...
...hopeful and his lady of the evening, Sally (Nancy Allen). Jack dives in and saves her, but is later warned by police and friends of the deceased politician to forget that she existed. The plot thickens-curdles, really-with hints of Chappaquiddick and Nixonian plumbers, with genuflections to Michelangelo Antonioni's Blowup and Francis Ford Coppola's The Conversation, with narrative implausibilities and internal contradictions and enough red herrings to stock a Leningrad fish market...