To be fair to Richard, we don't know if he's American; even a few
non-Americans dislike ``Zabriskie Point.'' This American thinks it's
remarkable, an absolutely courageous plunge by a foreign-born artist into
the sandpit of late '60s American culture and politics. It has always been
far too easily dismissed by many American critics and writers, the first
wave of whom expressed little more than unexamined embarrassment, as if
Antonioni had filmed himself having sex in public with hippies. The
disconnect between what is actually on screen and what these early critics
wrote is an entertaining read, yet another of several points in Antonioni's
career when his work absolutely flummoxed critical writing--the first of
which was in Italy, starting with ``Cronica di un Amore.''
Alexander helpfully reminds that you can't possibly praise something in
comparison to something you haven't seen. Who knows: It may be possible that
once he sees it, Richard will prefer ``Zabriskie'' to ``La Notte,'' despite
my earlier praise.
As for the Brits having ``long `forgave' `Blow-Up''', well, I'm not sure
this isn't Alexander just having a joke. One of ``Blow-Up'''s most
extraordinary qualities is how much it feels like an English film, albeit
one completely made with Antonioni's stamp. There's absolutely nothing to
forgive, which is why I assume Alexander is just having a bit of late-night
humor...
Robert Koehler
----- Original Message -----
From: "Alexander Soifer" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Saturday, November 16, 2002 11:41 AM
Subject: Re: La Notte
> > That's it - you've made me want to see La Notte! Zabriskie Point - the
> only
> > Antonioni I know - seems trite by comparison.
> > Richard Armstrong
>
> Dear Richard:
> I am amazed at your ability to compare to the unseen.
>
> In my book, Zabriskie Point is a spectacular work. The only thing I do not
> understand,
> is why the Americans feel still so hurt by it, whereas the Brits have long
> "forgave" Blowup...
>
> Sincerely,
>
> Alexander Soifer
