Red desert antonioni essay
Starring Monica Vitti with a score by Giovanni Fusco.
This subjective isolation extends to her surroundings by having her photographed with a telephoto lens having a relatively short depth-of-field, which leaves only her in focus and everything else in a blurred, difficult-to-recognize state.
Throughout this section the viewer is presented with unexplained shots of to us bizarre industrial structures and debris. The history of her sickness is suggested rather than spelled out, just as the cure for it, throughout the film, remains a matter of tantalizing possibility.
Both Ugo and Corrado are comfortable in the noisy surroundings of the factory — they are modernists, at home in the engineered world of Western civilization.
Le desert rouge
Much of what is conveyed is not only not presented in verbal terms, but almost outside the scope of verbal expression. Returning to painting for a moment, then, it is interesting to make one more distinction. And the clearly focused bursts of flames coming from an industrial plant that immediately follows already postulates a kind of dialectic between aestheticism and brute reality. Corrado is half-way to understanding her situation. The landscape is a grim, sludgy mass of churned soil and dark satanic mills, belching out smoke and flame: Antonioni boldly counters the picturesque view of sunny, happy Italy. Antonioni instead leavens the sepia and gray with hues and tints of red, blue, and pink. It's not swinging exactly, but has a distinctively experimental, exploratory and even improvisatory feel. It is not "color," exactly, that is revealed in these initial sequences of an industrial wasteland in Ravenna, shot in blurred deep focus and accompanied by the haunting rattle of an electronic score. For example, in the s he wrote for Cinema magazine, an important source of ideas for the future neorealist generation. Related Films. In Red Desert, it seems to me, all the cylinders are firing. Comfort with the Group 31 minutes Corrado and Giuliana join Ugo along a polluted estuary where they intend to have a party with another couple in a small riverside shack belonging to the company.
Corrado is half-way to understanding her situation. She is trying to to cope and live in this world as best she can. The outsider might consider this odd, for the film is, after all, Italian, in both subject matter and language. In the first, the child sees a splendid yacht on the horizon.
Each of its three sections is utopian in some way—yet also sinister and frightening. And yet not her in any reductive way: physically and in coloring, the child is quite different from the adult Vitti.
Corrado is a man who understands—and yet he is unable to save Giuliana.
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