For "Adventure", the first anomaly is the heroine's transposition. At the beginning, the ugly Anna seemed to be the center of the film-she used a lot of pen and ink to portray her neuroticism and unreasonable troubles, but she disappeared for no reason. Up.
In the same film from 1960, the heroine of "Mentally Ill" also died in one third, but at least, Hitchcock directly showed us the murder in the bathroom, and this scene became a fan of the movie. Relish classics. The search for the missing woman in "Adventures" quickly came to an end, and in the end there was no answer. Even Antonioni admitted that he didn't know where Anna was going. (Many of the characters in his films are rather mysterious.)
I joked to my friends that the director is complaining about this plot. Seeing those women who are not beautiful and have so many things to torture their boyfriends all day is a rejection. My life. The ugly girl takes the initiative to withdraw, leaving the handsome men and beautiful women together, can they not spark anymore?
Martin Scorsese also mentioned this in an article in The New York Times. He also said: "Almost every other film I have watched tried to hang people's appetites, but "Adventure" is the opposite. For self-awakening, the characters in the play lack the will or the ability. They just Have the so-called'self-awareness', and use it to conceal the childish but extremely real superficiality and laziness." This sentence hits the point.
Edward Murray pointed out that this film reflects a new era, a degenerate modern society, and many of Antonioni's films show this degeneration. In modern society, it is full of abnormal, eager, and overflowing sexual desires.
The root cause, as Scorsese said, is that people lack the will and ability, and people are unwilling to face real life, but return to themselves and become incompetent.
This incompetence is reflected in Sandlow, that is, he must "lean on a woman, just like a cripple leans on a crutches. Sandlow would rather return to the woman's body, avoid all the problems he faces, and rely on sex to solve all the problems. "(Edward Murray "Review of Ten Classic Films", translated by Zhang Wanye and others, China Film Publishing House, 1985.)
This is connected with the famous last scene of the film: Why does Sandro cry?
"Sandro is just born like a man. He will not fall in love with anyone. He cannot be detached from the pursuit of money and carnal desire. He cries for his lost soul, for those who don't appear again. Weeping for illusions and crying for being unable to extricate herself." (Murray)
Claudia stroked his head, pitying him like a mother, and forgiving him. (The image of mother in Italian films is extremely frequent, regardless of the director.)
"Antonioni once said that the last scene is very symbolic, and the picture is divided into two halves. The wall represents Sandro Sandro, which is pessimism. The volcano represents Claudia, that is, optimism.” (Murray) Antonioni has portrayed Claudia as a woman who is unique from the people around her, and hopes that she will lead us out of the sickness of modern society. The director believes that everything is hopeful, and Claudia is not doomed to fail, even if she realizes that she and Sandlow have similarities-they both turned their backs on Anna.
However, Claudia is indeed under great pressure in this modern society.
There is a surreal detail. Claudia was waiting for Sandlow outside a house. Many people gathered around, men without exception (it felt like a pair often used in Kubrick movies. Mannequins, or masked people), staring at her with strange, desire-filled eyes, without saying a word. This just symbolizes that all men are satisfied with mechanical sexual desires, and women's spiritual world is irrelevant (Sandro repeatedly said Claudia: "Why do you want to figure out everything?").
Claudia was obviously terrified, she looked for Sandro, and finally the latter came out, but there was a woman behind him! Although the woman seemed to have nothing to do with him, he glanced back clearly, suggesting that he was at least interested in this woman, and might even have just flirted. This technique was also used in "Graduate": Dustin Hoffman, who was indifferent to everything in the opening song, turned her head after the woman who passed by on the elevator, suggesting the main conflict of the film.
By the way, I will extract a few paragraphs of Edward Murray's analysis of Antonioni's style:
Due to the emphasis on the psychological state of the characters, the rhythm of Antonioni's films is closer to real life than the rhythm of ordinary movies. In ordinary movies, time is greatly compressed. Every scene in his film appears to be procrastinated, it seems that he is intentionally slow and sluggish.
Antonioni likes to show the audience empty scenes in the processing of the screen-sometimes the characters have not yet appeared on the scene, and sometimes they have already left. He once said: "If there is one thing I often do, it is to aim the camera at inanimate objects, rather than at people, to make things appear abstract and show how weak human relationships are." (1,1967) (The New York Times on 1st)
His film has a rhythm that resembles life, but the scene scheduling is stylized. He is good at using buildings, open areas and landscapes to reflect the mental state of the characters at a specific moment. The appearance of the scene always looks like a carefully designed stage.
Fellini once said: "(Antonioni) has the eyesight of a photographer. His genius lies in his eyesight, not his mental power... The charm of his film lies in its appearance and its deliberate desire. They produce a peculiar effect, just like "Vogue" magazine, very elegant, but very indifferent."
His characters always have some mystery, we have to understand his characters through bit by bit. Just like in real life. In understanding and evaluating these characters, we feel that there is little basis, not as sufficient as other films provide. Even the director himself claimed that he could not answer certain questions about his characters.
2011-10-22
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