It took me some time to watch any film by Michaelangelo Antonioni, being interested in his films and with knowledge of his reputation but commitments and being behind on my watching and reviewing for a while now stopped me from watching any of his output until fairly recently. As of now have not seen all of his work but enough to judge. Antonioni is one of those "highly appreciate and recognise their influence in film-making" rather than "adore and becoming a favourite" directors and can understand why he won't work for some.
Antonioni is a very interesting and deservedly influential director with a lot of his output being well worth watching to masterpiece. Yet with a style that fascinates many, with exceptional use of imagery and photography and how he explored subjects in some of his best work was ground breaking, but alienates others who consider his style as detatched, ambiguous and self-indulgent. Personally very much lean towards the former. 'La Notte', made during Antonioni's best and richest period, is one of his best, in my top 3 of his films and my personal favourite of "trilogy of alienation", the others being 'L'avventura' and 'L'Eclisse'. Despite loving 'L'avventura', which was ground-breaking, exceptionally directed and some of the best cinematography of the decade (all three applying to 'La Notte'), 'La Notte' strikes me as the more accessible film, with the characterisation deeper and clearer in my view and connected with me more on an emotional level. Also loved the film first time whereas it took me a re-watch to re-assess 'L'avventura' to hold it in high regard.
'La Notte' again looks wonderful, the locations are strikingly atmospheric and on a cinematography level it is one of the best and most vivid films of the 60s. The stunning opening shot is unforgettable. Some of Antonioni's best and most accomplished directing can be seen here too, approaching the subject in a thought-provoking and brutally honest yet sincere manner that doesn't try too hard or come over as pompous.
You couldn't ask for better performances with Jeanne Moreau in particular giving one of her best ever performances, with the wandering around the streets scene being a telling piece of acting. Not once is it obvious that she apparently didn't care for the role. The characters came over as interesting, with a clear empathy for Lidia and Giovanni portrayed from Lidia's viewpoint is far more complex and nowhere near as shallow as he may appear to be for some, and the look into the various relationships is insightful and provokes a lot of thought in a way that one does not expect before watching, it has been criticised for ambiguity which isn't shared by me.
The script is both sympathetic and unforgiving in equal measure and the story made me think, approaches its subject with sophistication and complexity and connected with me emotionally. The pace is deliberate but never dull or troubling which is remarkable for a film with many silent passages.
All in all, a masterwork. 10/10 Bethany Cox
Antonioni is a very interesting and deservedly influential director with a lot of his output being well worth watching to masterpiece. Yet with a style that fascinates many, with exceptional use of imagery and photography and how he explored subjects in some of his best work was ground breaking, but alienates others who consider his style as detatched, ambiguous and self-indulgent. Personally very much lean towards the former. 'La Notte', made during Antonioni's best and richest period, is one of his best, in my top 3 of his films and my personal favourite of "trilogy of alienation", the others being 'L'avventura' and 'L'Eclisse'. Despite loving 'L'avventura', which was ground-breaking, exceptionally directed and some of the best cinematography of the decade (all three applying to 'La Notte'), 'La Notte' strikes me as the more accessible film, with the characterisation deeper and clearer in my view and connected with me more on an emotional level. Also loved the film first time whereas it took me a re-watch to re-assess 'L'avventura' to hold it in high regard.
'La Notte' again looks wonderful, the locations are strikingly atmospheric and on a cinematography level it is one of the best and most vivid films of the 60s. The stunning opening shot is unforgettable. Some of Antonioni's best and most accomplished directing can be seen here too, approaching the subject in a thought-provoking and brutally honest yet sincere manner that doesn't try too hard or come over as pompous.
You couldn't ask for better performances with Jeanne Moreau in particular giving one of her best ever performances, with the wandering around the streets scene being a telling piece of acting. Not once is it obvious that she apparently didn't care for the role. The characters came over as interesting, with a clear empathy for Lidia and Giovanni portrayed from Lidia's viewpoint is far more complex and nowhere near as shallow as he may appear to be for some, and the look into the various relationships is insightful and provokes a lot of thought in a way that one does not expect before watching, it has been criticised for ambiguity which isn't shared by me.
The script is both sympathetic and unforgiving in equal measure and the story made me think, approaches its subject with sophistication and complexity and connected with me emotionally. The pace is deliberate but never dull or troubling which is remarkable for a film with many silent passages.
All in all, a masterwork. 10/10 Bethany Cox