A hunted man breaks into the castle at Oberwald to kill the Queen, but faints before doing so. He is Sebastian, the splitting image of the King who was assassinated on his wedding day. The ... See full summary »
Three stories of well-off youths who commit murders. In the French episode a group of high school students kill one of their colleagues for his money. In the Italian episode a university ... See full summary »
Anna Maria Ferrero,
The movie director Niccolo has just been left by his wife. This gives him the idea of making a movie about women's relationships. He starts to search for a woman who can play the leading ... See full summary »
In a bleak rundown industrial area a young woman, Giuliana, tries to cope with life. She's married to Ugo the manager of a local plant but is soon having an affair with one of his ... See full summary »
After living seven years with the mechanic Aldo, having a daughter with him, the simple woman Irma is informed that her absent husband had just died in Sydney. She becomes upset when Aldo proposes to marry her and she tells him that she is going to leave him. Unable to explain how much he loves her, Aldo takes their daughter Rosina and travels with her, meeting different women in different places, trying to establish a new relationship and fill the emptiness of his sentimental life. He visits his former lover Elvia; he meets and lives with the widow Virginia, who owns a gas station; he lives with the prostitute Andreina. But these relationships never complete the needy Aldo. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In the total of Antonioni's films, 'Il grido' (= Italian for 'the outcry') makes an exception: it is entirely set in a worker's environment. Usually Antonioni's actors and actresses perform people who don't earn their living by physical labor.
Produced shortly before Antonioni's famous trio 'La Notte', 'L'eclisse' and 'L'avventura', this film from 1957 clearly shows the theme Antonioni got so famous with: men losing their roots, being dislocated & disoriented by the advancement of technology. Around 1960 this pessimism was very current.
On top of this, 'Il grido' carries every other Antonioni-feature. Fine shooting, while emphasizing on geometries in buildings and landscapes (Antonioni was educated as an architect). First class actors and actresses who seldom laugh and make joy. And, as I already mentioned, a pessimistic theme linked with some grand-scale technical advancement.
Antonioni is renowned as 'the poet of misery'; 'Il grido' is quite in line with this statement.
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