Antonioni's first fictional film and a picture of post-war anxiety, "Story of a Love Affair" is the ironic tale of lovers who meet due to a husband's suspicion, their dramatic history, and the decisions they make to try to stay together. It takes on class issues, post-war malaise, and struggles against fate... to name just a few things. In 98 short minutes, it's filled to the brim with pathos and intrigue, deceit and passion, and fear and doubt.
It's a lot to take on for a "first" film, but Antonioni handles himself well, helped along very well by the actors. This is the first film of Antonioni's I've seen where the male character seems to have as much presence as the female. One can see some of Antonioni's later conceits beginning to develop, such as his eye for architecture and landscape, his dramatic sense of "the gaze", and his opinion that "Eros is sick."
This film also probably has more dialog than any other feature Antonioni has ever made. It is, in fact, so full of dialog that it's somewhat exhausting, though the dialog itself is very well written and poignant. The exhaustive quality of it actually helps the viewer relate to the ennui and entrapment felt by Paola and Guido, but it does weigh the movie down. Still, there are enough moments of silent contemplation and visual narration to release the movie from that tension and give the story a strong flow.
It's a good movie on its own right and a definite note of interest to Antonioni fans. It may not be widely known, and it's never been widely successful, but it has character and contemplation worthy of an art film buff.
--PolarisDiB
It's a lot to take on for a "first" film, but Antonioni handles himself well, helped along very well by the actors. This is the first film of Antonioni's I've seen where the male character seems to have as much presence as the female. One can see some of Antonioni's later conceits beginning to develop, such as his eye for architecture and landscape, his dramatic sense of "the gaze", and his opinion that "Eros is sick."
This film also probably has more dialog than any other feature Antonioni has ever made. It is, in fact, so full of dialog that it's somewhat exhausting, though the dialog itself is very well written and poignant. The exhaustive quality of it actually helps the viewer relate to the ennui and entrapment felt by Paola and Guido, but it does weigh the movie down. Still, there are enough moments of silent contemplation and visual narration to release the movie from that tension and give the story a strong flow.
It's a good movie on its own right and a definite note of interest to Antonioni fans. It may not be widely known, and it's never been widely successful, but it has character and contemplation worthy of an art film buff.
--PolarisDiB