Word: antonioni
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...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...
...your article on Marcello Mastroianni [Oct. 5]: La Nolle was made by Michelangelo Antonioni, not Luchino Visconti...
...second strong point of La Notte is its successful use of the existing technique Alain Resnais tried in Last Year at Marienbad: the cinematic journey into the mind. Watching Lidia (Miss Moreau) look at walls, buildings, people, one senses again that Antonioni is parodying. But because of the reality of his characters, and the fineness of his touch, such scenes are not soporific (as Marienbad was). The technique is no longer experimental: it is controlled...
Furthermore, La Notte outstrips Antonioni's last work, L'Avventura, largely because of its quicker pace and more startling scene shifts. One defect of L'Avventura was the sameness of the light that infused each scene. Not so with La Notte: first the dazzling glare of sunlight reflected from the steel and glass structures of the city, then the artificial whiteness of a hospital room, then the shadows by a wall, a continuously changing field of intensities that keep one's attention riveted on the screen...
...keeping it simple, Antonioni is able to tell a whole story in two hours, as he almost did in L'Avventura. In fact, La Notte features Aristotle's other old pals, unity of time and of place, as well. The film portrays one day and night in the lives of Giovanni (Marcello Mastroianni) a successful young novelist; Lidia, his wife; and Tina (Monica Vitti), 19-year old daughter of a fantastically wealthy industrialist. Mostly it is the story of Lidia's attempt to tell her husband that he should still love her, and his attempt to shake off the lethargy...