|
Firstly, a HUGE thanks to our Patreon
supporters. Your generosity touches me
deeply. These supporters have become the
single biggest contributing
factor to the survival of DVDBeaver.
Your assistance
has become essential. We are always
trying to expand Patron benefits... you
get access to the
Silent Auctions and
over 5000
unpublished screen captures (in lossless
PNG format, if that has appeal for you)
listed
HERE.
Please consider helping with $3 or more each month so we can continue
to do our best in giving you timely,
thorough reviews, calendar updates and
detailed comparisons. Thank you so much.
We aren't going to exist without another
100 or so patrons.
|
|
Search DVDBeaver |
S E A R C H D V D B e a v e r |
|
|
Characters in Search of a Soul...
Viewing Michelangelo's "L'Avventura" for the first time represented quite a turning point in my film education. It spoke to me in a way that no film had previously. I couldn't explain or understand my emotional response but I was aware of the films grandeur. It left an authoritative dent, lingering with an essence of nobility. For days after my initial viewing, everything felt "profound". It collapsed my expected narrative designs to such a degree that I could easily understand fellow film enthusiasts being agitated at the unnerving displacement. On the surface, it shows itself as a film that surrounds its first half in mystery only to drift aimlessly away on a floating sea of unresolved conclusions. But there is so much more. Upon deeper analysis (of which this film begs) we see that almost every detail of the plot, surrounding landscape and passive dialogue relate heavily to the characters identities and inner most feelings... their metaphysical world. If you hear the name Andrei Tarkovsky being uttered in comparison, it would be apt. With his picture perfect compositions Antonioni's films have more in connection with art than most other cinema. |
||
|
L'Avventura by Michelangelo Antonioni Review of the film and Criterion DVD by Gary W. Tooze |
|||
 |
 |
||
| As L'avventura opens we are greeted by
Anna (Lea Massari), a jaded,
spoiled socialite about to indifferently embark on a ship excursion with
her girlfriend Claudia (Monica Vitti) and boyfriend Sandro
(Gabriele Ferzetti) with whom she is in a long distance relationship. Her blasι
attitude is initially acceptable as we do not yet know her complete story.
After some disenchanted lovemaking with Sandro, her pain is expressed to
be their lack of togetherness and indecision as to the direction of the relationship.
On the boat excursion, while anchored to swim near a barren volcanic island, Anna feigns seeing shark. She soon reveals to Claudia that she lied and for no other purpose than succumbing to a fit of boredom. For their apathy, we are gaining the sense that all of these characters on the trip could be dubbed "the idle rich". They show little to no interest in what each other communicates. As well as opening a window on this surfeit class, each object of the landscape is clearly portrayed, and forms its own separate defined area within the screen. Antonioni's flawless framing makes it all so beautiful, making our job of interpretation that much more distracting. |
|||
|
|
 |
||
While touring the picturesque island with its Aeolian charm, Anna goes missing. We never know why and there is no direct evidence supporting any conclusions, but the aura of mystery is in the air. The initial concern for her soon dissolves and Sandro and Claudia begin an affair. It becomes hard to accept that these young, attractive and wealthy characters are so self-absorbed when we are used to gorgeous movie stars being the noble protagonists . As Antonioni states "I prefer to set my heroes in a rich environment because then their feelings are not determined by material and practical contingencies." In fact, there are no ' heroes' in this film, but the point is made that they have no mitigating factors to encourage their selfish behavior. Their foibles are bred through wealthy meaninglessness, not usual neo-realistic poverty and despair. In essence, these characters have nothing to overcome... no abject hardships to suppress or hurdles to leap. Because of this, we discern Claudia and Sandro's behavior that much more abhorrent in our eyes. The characters alligator tears and bluffed investigations of Anna's disappearance become an inquisition of who we are... our own superficialities become transparent and it is the viewer who is redeemed for reaching this conclusion. Antonioni's hidden skill in manipulating time and space while expressing the concealed undercurrents of his characters depths becomes rewarding to those who are cognizant of it. His images are more adept at conveying this meaningful experience than any script could have. Lets step back. This film is not for
everyone. You have to settle in a certain mindset to reach my proposed conclusions. If you do, it can be an eye-opener, if you don't it can be an
eye-closer ("zzzzzzz"). I certainly don't always come to the correct
inference, and still struggle to see the meaning in Godard or Hou, but
this film was a revelation for me. Doing research I was not surprised to see
it 2nd only to "Citizen Kane" in the 1962 Sight and Sound Poll,
remaining in the Top 10 list until 1992! It is comforting to see that Antonioni
is viewed as a pioneer and revolutionary in the language of cinema.
Initially L'avventura was hissed at its Cannes premiere, but who, offering the
masses something refreshing, is not condemned by the occasional philistine.
For its beauty, language, uniqueness and pure compositions it deserves all
its accolades... and more. |
|||
|
|
|||
|
|
|
||
To put it
bluntly, this DVD is perfect. Perfect Film. Perfect image and sound.
Perfect extras, including a 58 minute documentary and commentary. I don't
see any point in dredging up any minutia about an inconsistency here or
technical fault there... simply because there are none worthy of speaking
of. It would be an insult to the excellent detail that
the Criterion company have put into this DVD to get anal about its
outstanding quality. Liberate your expectations
and see the heights of which this new medium is capable of ascending. Just
buy it before it goes "Out of Print". Now.
Right now.  out
of |
|||
| Full Cast and Crew for Avventura, L' (1960) Directed by Michelangelo Antonioni Writing credits Michelangelo Antonioni (also story) Elio Bartolini Tonino Guerra Cast (in credits order) verified as complete Gabriele Ferzetti .... Sandro Monica Vitti .... Claudia Lea Massari .... Anna Dominique Blanchar .... Giulia Renzo Ricci .... Anna's Father James Addams (I) .... Corrado Dorothy De Poliolo .... Gloria Perkins Lelio Luttazzi .... Raimondo Giovanni Petrucci .... Prince Goffredo Esmeralda Ruspoli .... Patrizia Jack O'Connell (III) .... Old man on the island Angela Tommasi Di Lampedusa .... The Princess Prof. Cucco .... Ettore Franco Cimino Giovanni Danesi Rita Mole Renato Pinciroli Enrico Bologna Vincenzo Tranchina Produced by Cino Del Duca .... producer Raymond Hakim .... producer Robert Hakim .... producer Amato Pennasilico .... producer Luciano Perugia .... producer Original music by Giovanni Fusco Cinematography by Aldo Scavarda Film Editing by Eraldo Da Roma Production Design by Piero Poletto Costume Design by Adriana Berselli Makeup Department Mario Mandini .... hair stylist Ultimo Peruzzi .... makeup artist Production Management Enrico Bologna .... production supervisor Fernando Cinquini .... production supervisor Angelo Corso .... general manager Luciano Perugia .... production manager Second Unit Director or Assistant Director Gianni Arduini .... assistant director Franco Indovina .... assistant director Sound Department Fausto Ancillai .... sound mixer Claudio Maielli .... sound Nino Renda .... sound mixer Other crew Enrico Appetito .... still photographer Elvira D'Amico .... script supervisor Giovanni Fusco .... conductor Luigi Kuveiller .... camera operator Jack O'Connell (III) .... special assistant to director |
Technical
Information
Release Information: Aspect Ratio(s): Discographic Information: Edition Details:
|
||
