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 ...
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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 »
Made of four short tales, linked by a story filmed by Wim Wenders. Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story, which always a woman as the crux of the story, ... 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 »
At Zabriskie Point, United State's lowest point, two perfect strangers meet; an undergraduate dreamer and a young hippie student who start off an unrestrained romance, making love on the dusty terrain.
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 part in the movie - but also in his own life... Written by
Adverse word-of-mouth following 'New York Times' critic Vincent Canby's negative review of the film at the 1982 New York Film Festival led to the film being dropped by its US distributor. The film was eventually given a theatrical release in US in 1996. See more »
He's got a face that made Heine say, "As sad as a German two days dead."
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IDENTIFICATION OF A WOMAN (Michelangelo Antonioni, 1982) **1/2
Antonioni's last film prior to his suffering a stroke is this very typical effort (co-written with Gerard Brach and Tonino Guerra), dealing with a number of key themes that run through his work lack of communication, the mystery-as-journey-of-self-discovery, etc. That said, the film wasn't picked up for U.S. release until 1996 and is consequently perhaps the least-seen of Antonioni's films from his post-AVVENTURA phase!
Anyway, the mystery element links the film with the director's earlier BLOW UP (1966) and THE PASSENGER (1975); still, it's never as intriguing here as in those more celebrated titles (especially since, for once, it's explained away at the end!) but, as I said, the film eventually emerges to be more about the mid-life crisis of its central character (despite the title). Interestingly, he's a film director though "Euro-Cult" favorite Tomas Milian feels as incongruous to Antonioni's cinema as Marcello Mastroianni's presence had been in LA NOTTE (1961)! He has an obsessive relationship with a young woman (even enjoying some LAST TANGO IN Paris -type sex scenes!) who eventually leaves him and disappears (shades also of L'AVVENTURA ); while searching for her, he meets a variety of other willing girls (among them Antonioni's own future wife Enrica Fico). Marcel Bozzuffi appears in one brief, irrelevant scene as Milian's brother.
Overall, the film is tiresomely long and often mirrors the tedium experienced by the characters; the ending, however, is a beauty suggesting that, even if he's a failure at love, a film director is still left with his imagination. Carlo Di Palma's cinematography is notable, too particularly at the Venice location (where, coincidentally, I saw the Antonionis three years ago!) and during the tense fog-bound sequence; the film's score, then, is a mix of electronic, ambient and pop and all very much of its period. As was the case with THE PASSENGER, THE MYSTERY OF OBERWALD (which is now one of only two features by the director I've yet to catch up with!) and BEYOND THE CLOUDS (1995), Antonioni had a hand in the editing of the film; here, he receives sole credit for this and the result makes especially effective use of ellipses (the factors of time and space had always been a primary concern in his work thus making the apparently mocking recourse to science-fiction at the end anything but coincidental!).
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