The original title of the film is "L'Avventura" (1960), and it has other Chinese titles: "Adventure"/"Affair"/"Love"/"Adventure"
This is a classic by Italian director Michelangelo Antonioni. The most famous plot is that the heroine disappears into the story at the very beginning, such as a puzzle, such as a test. The three traveled together, and one disappeared. And the remaining good sisters, with someone else's boyfriend, these two people who shouldn't love each other, after the heroine disappeared, while searching for the heroine's figure, they were on guard, expecting, resisting, and strange things happened at the same time. Sparkling affection.
(The following is the plot description) The
threesome
good sisters Anne and Claudia (played by the classic beauty Monica Vitti) travel together, followed by Anne's man, Sandro (played by Gabriele Ferzetti). Annie disappeared mysteriously during the trip, but the story and suspense began.
Anne's boyfriend and everyone searched on the island. Everyone was sad. During the search, Anne's boyfriend Sandra and Claudia had a wonderful eye contact. The story then unfolded as Shan Zhuo's pursuit of Claudia, but Claudia was struggling in her heart, she begged Shan Zhuo to stop looking at her like this, because it would be unbearable. She tried to leave the man, but he jumped on the train stupidly and told his helplessness. Finally, she was persuaded. Sandra understands the doubts in Claudia's heart. He is affectionate, attentive, and skillfully saying to her again and again that I love you. When Claudia is worried and doubtful, she will ask Sandra to repeat " I love you", as if he was a slave to these three words.
The inner drama is to be wary of the two of
them , and they go to find Annie's whereabouts together like a mandarin duck. But how scared Claudia was, what if Anne did not disappear, but was still alive? The story did not go towards this evil, but developed differently. In the collapsed hotel, San Zhuo went to socialize, and Claudia went to sleep first.
Claudia's worry made her unable to sleep all night, and tossed and turned until dawn. At dawn, Shan Zhuo didn't come back. She opened the door to search, picked up the man's clothes, sniffed contentedly, and put them down. Early in the morning, she went to the hall to try to find it, walking past the mess of cups and plates and the remnants of the carnival left the night before. She was in a hurry, and she came and went on high heels in fear. The film suspense has turned the suspense about "Annie" into acceptance, and now it is the development of the tacit emotional connection between Sandra and Claudia.
I can't prevent dogs from eating shit. I
didn't expect to go to the restaurant, but I bumped into San Zhuo and a woman, and they were lingering on the sofa like this. Claudia ran away like this, Shan Zhuo took out a few pieces of ocean and left it like this, and followed. In the church square where the two used to be sweet, Sandra sat down sobbing so hard, and Claudia wiped her tears. Bully the past, hold on to your own hand and don't go up, don't give this man an undeserved forgiveness. However, Shan Zhuo cried so badly that she couldn't help it, so she patted his head like this, as if she could give him all the forgiveness he wanted.
Women who are too romantic also carry the price of being too romantic. Men can act rashly, so they must first practice good skills, lower their posture at the right time, and show their vulnerability, so as to arouse women's maternal instincts that have not yet completely degenerated, and then try to be gentle again. Tears that are worth the ticket price are unbearable and fragile behind the scenes, but for such a skilled man, this is a lifetime use.
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The first of Antonioni's love trilogy (the rest are La Notte (Night) in 1961 and L'Eclipse (Eclipse or Love Between Thousands of Mountains) in 1964. The analysis of these trilogy The separation and alienation between human beings are eliminated, and the hearts of the characters are almost bubbling with emptiness. The film also breaks the traditional narrative form and structure, reflecting the entanglement and chaos of the emotional world.
This film is the bridge in the trilogy. , as beautiful as a moving painting, the rhythm is extremely slow, and the plot is incomplete. I personally think it has the potential to make people fall asleep successfully without even struggling, but this is not the most serious of An's works. In terms of it, it's just like two and a half hours of hard work, it feels empty and exhausted. (I don't want to pretend to understand, and I don't want to easily write a masterpiece, but this is a real feeling, I just have to think about it)
But in fact, this film has now been regarded as Antonioni's classic work, and it is the key film for his fame, but it was so badly criticized at the Cannes Film Festival that the audience couldn't even stand it when it was shown. The more I watched it, the more delicious it became, and I won a special award from the jury.
This film is extremely alien and desolate. Antonioni's focus is to outline the mental state and inner entanglement of the characters. It is a bit exaggerated to say that there is no plot, but this is definitely an excellent portrayal with no beginning and no end, and the content is not complicated. Only The plot is just that Claudia (Monica Vitti) accompanies his girlfriend Anna to meet her boyfriend Sandro; they go to sea with several dignitaries; Anna disappears mysteriously on the island; Claudia and Sandro have feelings; Done. In such an incomplete and uncompromising film, there is a rotten cheesy that pervades the speech of the upper class and the emptiness (which at first glance looks like Peter Weir's pseudo-horror Picnic at Hanging Rock) ).
There are two main reasons why I can stay awake and give four stars. One is the process of finding Anna on the small island in the middle. I like this scene that only lasts about 20 minutes and think it is an excellent paragraph! At this point, there is a particularly suspenseful dramatic tension. How could a person disappear on such an empty island? It's a completely Tempest Villa-style pattern (there is really a storm), if you add a corpse, it can constitute a murder case where everyone is suspected and motivated! This is not the case, but the atmosphere is unique. During the whole search process, the characters are vague and indifferent, their expressions are in a trance, and they are completely lifeless puppets. Coupled with the wide-ranging and changing photography angles, the dark clouds and white waves hit the rocky beach. The lonely scene has an indescribable chill, and it feels terrifying. The camera shot the heroine Claudio many times looking at the rock cave at the bottom of the cliff where the tide is constantly beating. I once thought that Anna was lying on it, which was very scary.
The next scene is the moment when Claudia is in love with Sandro. It seems that the fire of love is slapped, and it is not exaggerated at all. It is just beyond imagination. It may only be a shoulder-to-shoulder touch and a look. , I was amazed to find that they happened and I saw it. I have always sighed at the rashness of love in Hollywood movies. In fact, it can also be convincing. The key is that it must be created intentionally. It is very suitable for Antonioni to be so subtle. the point.
About the greatest mystery in movie history, Anna's disappearance! (On the surface, it should be said to be disappearing, but there is actually a subtle difference between disappearing and disappearing. I think she disappeared suddenly in the film.) Anyway, Anna's disappearance is not untraceable. Judging from various signs, her and her father's relationship Alienation, her uninterested attitude towards her boyfriend's relationship, and even her motives for lying about sharks in the water all reveal the reason why she disappeared. Of course, Anton didn't give an answer (fortunately), and her disappearance didn't really matter. , the important thing is that this incident makes Claudia full of uncertainty and guilt, so he desperately suppresses his feelings, especially when he refuses to surrender his sincerity in the face of Sandro's needs, the cynical Sandro has no such doubts. (Otherwise he wouldn't have run out of food and run off to a whore, great! Bitch...)
The heroine is Antonioni's goddess, Monica Vitti, who does exhibit that dazed and indeterminate sense of emptiness (especially Close-up at the end of the film), it seems that she will never be able to face the state of reality, but it is difficult to see what is special about her acting skills, she is beautiful, and has a kind of naive and cool hybrid appearance, she is not like a celebrity, there is no such thing as The sense of existence, I appreciate her interpretation in L, Eclisse, which is also more prominent.
Awards record: 1960 Cannes Jury Special Award
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