The movie describes the mental state of Juliana, a mentally disordered woman after a car accident, facing the indifferent, isolated, and chaotic social reality, and depicts a pessimistic picture of an industrial city materializing human beings. Antonioni wrote highly original films and made this highly artistic film moment. We all know that color is the most direct way to mobilize the audience's senses in movies. The blue, red, and gray of the blockbuster in the film constitute the basic tone of the film. For example, red is often used as a symbol of sex and desire. And blue is often used to represent sadness. In the film, the factory workers are surrounded by large blue steel pipes, giving people a feeling of depression and discomfort. The sexual desire of the Anna couple and several friends in the dock cabin is also emphasized by the red baffle surrounding the mattress. At the beginning of the movie, outside a gray chemical factory, Juliana's green coat is particularly conspicuous among a group of workers in gray overalls. The screen suggests that Juliana subconsciously wants to use this vibrant green to resist reality. The gloomy depression. Also at the beginning, we saw Anna and the crowd isolated by shallow focus technology. In the picture, only Anna in the foreground is clear, and the crowd environment is blurred. Here, the world seems to have only itself, people can't see people, people don't understand people. The film's very style artistic expression lies in its complicated scene scheduling and broken jumps. Take a group of shots in the dock cabin section for analysis. The first shot was a middle shot of Julie's back, and then the screen quickly switched to the middle shot of Julie and her husband Ugo. In the next second, we saw Hugo drawing from the back, and the picture was cut to the middle shot of Julie with the woman in green clothes on the back. The woman in green then walked out of the picture from the left, leaving only Julie sitting down. Reach for the cup. And at this moment, the scene immediately cuts to Julie's movement in front of her husband Ugo. This set of jumper lenses gives a completely chaotic sense of direction, and there is almost no correlation between the movements of the upper and lower lenses. This consistent editing style expresses Anna's extremely chaotic spiritual world and absurd social reality, and at the same time conveys the almost desperate sense of chaos to the audience. The rhythm of the film is therefore pulsating up and down in a broken wavy line. In the following paragraphs, skip cuts are almost used to the extreme. For example, in the previous frame, Julie’s husband’s colleague Zeller walked into Julie, the atmosphere of the two rose, and in the next frame, Julie turned her back to Zeller, and the two were far apart. In the meantime, it seems to disappear for a while, leaving the audience with endless imagination and ambiguity. It is said that Juliana is mentally abnormal. But here, compared to the indifference of others, only Julie maintains her curiosity about the world and the pursuit of love. Video only
Thinking about it carefully, Juliana's spiritual world when facing reality is not an enlargement of the spiritual world of modern people. Perhaps there are countless people who are eager to be rescued like Julie are surrounded by steel iron plates, squeezed under the roof of industrial civilization desperately calling for help and no one can help. I hope this is just Antonioni's decisive writing rather than an allegory of modern society.
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