Soumya--
Bliss, thy name is ``La Notte.'' With each year, this film seems to be more
daring, more extraordinary in its ability to sustain scenes and sequences to
their absolute limit and beyond--from Moreau's quiet, mysterious stroll
through Milanese streets, her encounters with young men, the strange
nightclub sequence which appears to me to now be a mocking of the couple's
sexually moribund identity, and, of course, the final hour at the night
party, which I believe is the longest extended sequence Antonioni has ever
staged. I would argue that everything one need know about directing for the
camera can be learned from a close study of ``La Notte's'' final hour. It's
the masterpiece bar none of the expression of human beings situated for
maximum emotional and psychological impact in complex domestic space. Moreau
suppsedly hated MA, and Mastroianni had few nice words for MA, but, my God,
what performances he pulled out of them. Moreau, especially, has been
unfairly knocked over time for this performance; but her discomfort with
Italian, the fact that she's French, were details that were crucial in her
casting: She is meant to be apart, wandering, a bit lost, without a compass.
Her French-ness is very much a part of that. And, not to neglect it, the
opening extended sequence at the hospital with German director Bernhard
Wicki in the throes of death, establishing the film's themes of mortality
and the unsurity of the future. It's almost unbelievable, when you consider
it, that Antonioni actually surpassed himself with his following film,
``L'Eclisse.'' What an amazing period that was....
Robert Koehler
----- Original Message -----
From: "Soumya Guhathakurta" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, November 15, 2002 12:38 AM
Subject: Antonioni
> I returned just now from a screening of Antonioni's 'La notte' at the
> Calcutta Film festival. I am overwhelmed and found the frames to be poetic
> , at places. Would be happy if list members post their views on the movie.
>
> Soumya.
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