Word: soundtrack
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Dates: during 1970-1979
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...some appropriately vicious Pigs. This prompts him without further thought to buy a gun. Frechette's acting stresses listless pragmatism, and his quick transition to Militancy is not convincing. But Antonioni's mind is elsewhere: While Mark and friend drive, he is more concerned with urban abstraction than the soundtrack's exposition. Anyone who has lived in Los Angeles knows how perception is changed by spending half of one's life in a moving car. Tangible responses and strong emotions are triggered instantly by faces, signs, buildings that pass by in seconds. The montage is violently edited, aggressively recreating this...
...image earth-to a more conventional wide-angle pull-back of dozens of lovers dotting the landscape. Antonioni cuts to three panoramic long shots of desert terrain. The third shows: Mark and Daria in the distance. Before MGM removed it from the prints, Mark said full-voiced on the soundtrack. "I always knew it would be like this." With the Open Theatre love scene directly before, the line was a howler. Antonioni claims it referred specifically to the desert, and the nature of the establishing shots confirms that. Abstracting the line from the absurdity of its context, the three-shot...
...connected by dramatic relationships, the shots are actually as distinct from each other as the five-minute montage of locations that ends Eclipse. In the airport footage, each group (police, newsmen, airport workers) is given its own turf and its own shot-the camerawork never connects them, and the soundtrack stresses their diverse functions and attitudes. Cross-cutting between Daria's final drive to Phoenix and Mark's return to L. A. stresses spatial differences and dissimilarity of direction and movement, widening the gap between their futures. Except for two brief inserts when police are pursuing him on the runway...
Susan Saved. At this point, the soundtrack voice interrupts: "As a prostitute, Samantha Jane makes 20 times as much as she'd make as a secretary." The scene shows a young man and a big-bosomed brunette in what appears to be a motel room. Says the brunette: "I need it all the time now." Says Mrs. Shriver: "You make a film like this for a couple of thousand dollars and gross ten or twenty times as much. All you need is a bed, a photographer, and a man and a woman...