L'avventura, the first part of Antonioni’s love trilogy, is often talked about, not just because it condenses and understands the structured space and time, all the fragmentation of time and space is wonderful Unspeakable, and the alienation of the human spirit is becoming more and more glued under the Antonioni-style silent lens. This kind of diaphragm is vaguely separated, entwining everyone's soul, and the audience's breathing is gradually slow and heavy.
Weber’s views on modern society have been repeatedly mentioned because of his incredible interpretation of estrangement. In his eyes, estrangement is caused by the disillusionment of the self’s fantasy of the world, and disillusionment directly leads to self-consciousness. "Retire", so self-retire has become a brand-new interpretation of the cliche term alienation: Are we entering or exiting this world that is consistent with or contrary to established desires? Antonioni's love trilogy is rather ambiguous in its interpretation of alienation. Conscious thinking is unconsciously integrated into Antonioni's visual language. Even if the image extracts the color of the spectrum, this ambiguity is still maximized. Kay Moore once said, “Antonioni’s protagonists are always hovering between being speechless because of emotions drifting with the crowd and being silent because of difficulty in predicting the future.” In fact, maybe we have brought that wrong from the beginning. A bit of sentimentality, perhaps what flows from Antonioni’s images has never been love. The sparse crowd has never been sincere and simple in "Border Town". Everyone "saves" themselves, puts aside moral censure, and accepts overwhelming. The baptism of material desire, there is also helplessness in the cunning.
The first scene of the film is from Anna, who is walking alone on the path, back to the conversation with her father. Anna’s caution and cautiousness are unique to women. From the beginning of the conversation, we discovered that this sensitive woman and the material-supreme father "surprised" All are so rational and cold. The emotional tone of the characters has been alienated from the beginning, and there is a kind of indifference that is irrelevant to the woman's flamboyant words on emotional issues. The subsequent extension of this emotion is even more unexpected. Anna's blindness after the appearance of Claudius (Monica Witty, the only woman in this film who is perfect both in appearance and inwardness) foreshadows the existence of this alienation. This kind of alienation is different from Victoria in "Eclipse", at least on a spiritual level, the two are obviously opposite. Victoria prevented the temptation of ordinary emotions and started a new emotional journey after breaking off the relationship with her lover Ricardo. , And Anna consciously or unconsciously maintains a world without feelings, whether it is to her friend Crowdy or her lover Sandro. And this chaotic feeling is the boldest interpretation in "Red Desert". In those distant and vague images, the neurotic Monica Witty is chaotic and helpless in the depths. She has repeatedly asked "I Who is it and where do I come from", the self-lost in the love trilogy has transformed into the estrangement of the self-soul, the body and the soul are separated from each other.
Anna and Claudy drove to see Anna’s lover Sandro. After getting off the car, Anna didn’t rush to Sandro’s room, but went to drink coffee to quench her thirst. Claudy told her in a questioning tone that that one The man who hadn't seen him was waiting for her anxiously. Anna's answer hinted that the two were spiritually separated: one is here and the other is there. Afterwards, Anna came to Sandro’s room to act and materialize the alienation of words. Antonioni gave Anna’s two small actions. One was Anna throwing a purse, and the other was when she opened the curtain and leaned back in front of the window sill. The lazy and comfortable action doesn't mind the audience's peeping, and the eroticism is ready to come out. They dropped their friend Claudius and started a sensual orgy. Antonioni gave Anna a close-up of her face. The numb, sluggish and even slightly anxious faces seemed to be pulling us back into the erratic emotional trap.
On the boat to the desert island, Anna staged a good show of encountering sharks. Antonioni brought out a kind of cramped and frightened atmosphere through Anna’s deception, and then the rocky desert island was the director’s performance. play. Anna's disappearance is a signal, and its meaning is not only that women disappear from the sight of men, but also express Anna's determination to break actively. The more transparent the ordinary things, the more thorough this determination will come. Sandro gave the "relics" to Anna's father. One of them was the "Bible", which at least means that Anna's soul has not gone, she still Maintain a sober sanity. The disappearance of the character is more like a female confession, a confession to the boring emotional world. This kind of confession was finally paid off in "Eclipse". Many people regarded Victoria in "Eclipse" as the return of Anna in "Adventure". She finally found what she wanted at the end of the former.
In the more than twenty minutes of the scene in which Anna was missing, Anna is a dispensable symbol. Everyone is looking for her for a different purpose, but Claudy is the only one who really needs her emotionally, even Sandro. His search is only attracted by symbols, completely free of characters. It is also for this reason that Sandro's search is materialized, and the missing symbol can be Anna or Crowdy. Once he finds the point of venting material desire, then that goal is no longer important, and new prey can make him eager to move around.
It is worth mentioning that Claudius has been wearing the dress Anna gave him. She has reproduced Sandro's pursuit of women, both psychologically and in terms of dress. In order to avoid acting as the third point in the triangle, Claudius took the initiative to retreat and escape at the right time. Although Anna's empty position urgently needs to be filled, the result of the overlapping of the positions of the two women can only be that the woman hurts the woman. . As a result, we see men showing amazing perseverance under the temptation of prey. Sandro evaded responsibility in the train by reluctance to sacrifice himself. He said, "I understand the embarrassing situation you are in if Anna is there, but she is not there." In fact, the nuances of this sentence are intriguing. First of all, it stitched the lines that Antonioni designed for Anna in the film. Anna once said to Claudy, "I am here, and he is there", and the director arranged here. Anna's disappearance changed the distance between the two of them from here to there into an indefinite distance in space (infinitely far); secondly, Anna's absence was the absence of a woman in Sandro's view, which did not give The feelings of alienation worsen, and it arouses men's pursuit of women's symbols and the pursuit of Crowdy, who represents sensuality.
In fact, in this cold society, even a little bit of diligence is enough to move Crowdy's lonely heart. On the desert island, Claudius has become obsessed with this man, but the main reason she is unwilling to accept Sandro is that she can’t be sure about Anna’s trace. The panic inherited from the desert island has been lingering around her, and this feeling It has always existed. On the one hand, she did not trust the man in front of her, and on the other hand, she was afraid of falling into an embarrassment. Sandro is also familiar with this. He asked the most famous reporter in Rome to help him write the story of Anna's voluntary departure, which ruled out Claudy's inner grudge. It seems that the woman's embrace and embrace are close at hand.
Then, the woman suddenly fell into meditation when she saw the newspaper report. She changed her wig to show her charm in front of the mirror, accompanied her female companion to visit young painters and witnessed the fall of passion between men and women, which continued her resurgence of love. The warmth of eager anticipation seemed to be looming. Therefore, the meeting between the two was expected. And then? They began to search aimlessly for a person who did not exist. Italian architecture is not just an external symbol of space. Antonioni gave self-consciousness to a geometric space, and the character's self hesitated and lost in the architectural space. After all, Crowdy could not suppress the burst of passion and kiss Sandro hotly. Although her guilt has been lingering, it is obviously not important anymore. She has been completely immersed in the fascination set by men. .
However, although a man has the heart of a woman, he cannot be satisfied with the flesh. In Rome, Sandro deliberately soiled the painter’s architectural sketches, and then went back to the room and lay down on the bed to satisfy his sensual desires. This is Antonioni’s warning again, as if to say that the feelings in your eyes are all lies, alienating talents. Is the final outcome. The director will not give the audience emotional recognition. The restless and uneasy emotions of the protagonist in the film can never satisfy the audience's justice demands. So at the end, Sandro finally lay in the prostitute's room and finished the long-awaited carnal vent. Looking at each other, the woman could only flee. We saw that the inferiority of the man was finally brought out alive and exposed in full view. This is undoubtedly that the huge bet placed by the audience disappeared in an instant, and it was Antonioni who stole it.
In Antonioni's images, it turns out that alienation is destined. On the empty bench, the two were still quiet, the woman's hand repeated as she stretched out and retracted, in the air, new or old, just like me, silent.
2006/1/18 Netease Entertainment Special
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