Word: antonioni
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These stories represent an almost too successful literary strategy of simulated monotony. Like the films of his fellow countryman Antonioni, Moravia's near fantasies are surreal studies of boredom at point of hysteria. There is little sense of time or place. Moravia's women seldom have names. They seem to inhabit a kind of limbo, a never land of listlessness. Often they are rich, like the antiheroine of I Haven't Time, who is the seventh-best-dressed woman in the world. But their money buys them nothing they want because they really have no wants they...
...presumption of the interview, as of the rest of Simon's book, is that Bergman is the greatest genius the cinema has produced. The sum of his artistry, in Simon's view, surpasses all other film-makers'; the individual works are unmatched except by Fellini and Antonioni at their best. In the interview. Simon tells Bergman his judgment straight off, but the book is by no means mere obeisance, though the unsparing acidity characteristic of Simon's New York magazine theater column corrodes few Bergman frames...
Tango's explosive impact will demonstrate to a wide public what many film buffs already know: that Bertolucci, 31, is Italy's most gifted director in the generation after Fellini and Antonioni, and one of the most gifted younger directors on the world scene (see box, page 54). It will also introduce, in the role of the young girl, a striking new performer: France's sensual, baby-faced Maria Schneider, 20, whose blithely amoral charm perfectly expresses the contem porary...
China. Italian filmmaker Michelangelo Antonioni toured China with a documentary film crew to produce this two-hour special on the People's Republic for Italian television. CH. 5, 9 p.m. Color...
...analyses Bob Rafelson's style, pulling out on route some of his favorite baseball cards--Fellini, Bergman, Antonioni, Truffaut, Godard, Hitchcock, Ford, Welles, Walsh, Nichols, Mazursky, Grosbard--all in one short and easy review. Past the intro, there's no more social consciousness. It is pretty nervy for Sarris to condemn "disconnection with the Other" midway through as a misinterpretation of auteurism's roots. At that point he's already lost three quarters of his non-acolyte audience...