Word: sandro
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...ending is consistent with the rest of Antonioni's work. In L'Avventura, Sandro and Claudia's romance fails to solve their individual problems, yet they will remain together; in La Notte, Giovanni and Lidia decide not to separate although they know their marriage will never be successful; Red Desert ends with Giuliana's realization that she must not commit suicide even if her life is filled with neurotic unhappiness. Unlike the films of Rosselini, Hitchcock, and Renoir, which follow characters in a state of emotional or spiritual crisis through a therapeutic chain of events, Antonioni's films are rarely...
Domenico (Sandro Panzeri) is natural office fodder. He is shy, willing, anxious to please. He comes from a poor family and all he dares to ask of life is "un posto sicuro"-a steady job. And, if possible, a fancy belted raincoat with a little cap to match. As he enters the big office building, he stares as Alice stared at Wonderland. Doors beyond doors, and behind each of the doors a new life. Trembling, he opens one of them. Sure enough, a job is waiting for him; he is hired as an office boy in the Technical Section...
...there is a peculiar logic to the story, which finds expression in Claudia's changing attitude--distress at Anna's disappearance, shock at Sandro's advances, attraction to Sandro, shame at her behavior, and finally an unreasoned love in which her shame is slowly lost...
...Sandro is discounted by Antonioni's contempt; Anna disappears; Antonioni never gives much attention to either the featherbrained Julia or the calm Patrizia. Only Claudia is left. And because she alone remains at the end of the film, the audience must wonder if the story is only that the slob has caught another chick. In the despairing La Dolce Vita, this would be the message. But the distinctive characteristic of L'Avventura is that things are not the same at the end as they were in the beginning. Claudia has changed, as has Anna (if she lives), as has Julia...
...story is obscured by brilliant photography that makes the viewer concentrate on scenes rather than continuity, but the camera work has an expressive clarity and nightmarish emotional intensity which speaks even more clearly than the script It is this visual language, more than words, which says that Sandro sees Claudia as just a new adventure. But the same language portrays emotional tone so clearly that the film's message clearly lies in Claudia's changing attitude...