7.7/10
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Red Desert (1964)

Il deserto rosso (original title)
Not Rated | | Drama | 8 February 1965 (USA)
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In an industrial area, Giuliana, an unstable woman, attempts to cope with life by starting an affair with a co-worker at the plant her husband manages.
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7 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Monica Vitti ... Giuliana
Richard Harris ... Corrado Zeller
Carlo Chionetti Carlo Chionetti ... Ugo
Xenia Valderi ... Linda
Rita Renoir Rita Renoir ... Emilia
Lili Rheims Lili Rheims ... Telescope operator's wife
Aldo Grotti Aldo Grotti ... Max
Valerio Bartoleschi Valerio Bartoleschi ... Valerio - Giuliana's son
Emanuela Pala Carboni Emanuela Pala Carboni ... Girl in fable
Bruno Borghi Bruno Borghi
Beppe Conti Beppe Conti
Giulio Cotignoli Giulio Cotignoli
Giovanni Lolli Giovanni Lolli
Hiram Mino Madonia Hiram Mino Madonia
Giuliano Missirini Giuliano Missirini ... Radio telescope operator
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Storyline

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 co-workers, Corrado Zeller, who is visiting. Giuliana is unstable, not quite knowing anymore just what her role is, whether that be a wife, a mother or just another person. Her escape from life is short-lived however as Zeller is simply using her to satisfy his own needs and desires. Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

ANTONIONI in his first color film See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | France

Language:

Italian | Turkish

Release Date:

8 February 1965 (USA) See more »

Also Known As:

Red Desert See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Richard Harris agreed to star in Sam Peckinpah's Major Dundee (1965) in December 1963 while still in the middle of making this film. Harris walked off Michelangelo Antonioni's film, as it went further behind schedule to ensure that he did not miss Major Dundee's start date of February 5, 1964. Harris said that Red Desert (1964) had to be completed without him, and a double was used for his character in some of the long shots. See more »

Quotes

Giuliana: Are you a leftist or a rightist?
Corrado Zeller: Why do you ask such a question? Are you interested in politics?
Giuliana: Good Lord, no. I was just wondering.
Corrado Zeller: It's like asking, "What do you believe in?" Those are big words, Giuliana, that calls for precise answers. Deep down... one doesn't really know what one believes in. One believes in humanity... in a certain sense. A little less in justice. A little more in progress. One believes in socialism... perhaps. What matters is to act as one thinks right - right for ...
[...]
See more »

Alternate Versions

A restored version has been released in 1999, edited by Vincenzo Verzini. See more »

Connections

Referenced in Sposób bycia (1966) See more »

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User Reviews

Red Sea Parts
31 May 2010 | by tedgSee all my reviews

Usually, I see a film and comment on it. If it is one I have seen before, that comment has folds from my life and internal imagination. Every film I have seen builds that imagination in some way. A few are profound and some of those are knowingly so, either me or the film knowing.

I saw this a great many years ago, when visual wisdom was less familiar and it had a great impact on me. At that time, the intellectual economy was fueled by a sort of controlled French angst, formatted for digestibility by young college minds. It really was so. Malick was one in my vicinity who could master a meal made of this without excluding more nourishing things, but that is a different story than the one I want to tell.

I cannot recall the year, perhaps 1966, I saw this at the Orson Welles theater in Cambridge. Since then, I collect the sounds of waves on beaches. I've travelled widely and for some reason have a near perfect aural recall of each experience of the watered desert. It is my primary anchor to the forms of nature.

The shape of this film is an outer world, bleaker than anything Lynch has given us. It is a beast of form: factories that even today amaze me with their power. If this existed in Italy — which I have no doubt — then Soviet stuff is beyond my tolerance. Huge threatening forms seem created by gods to swallow color and thereby grow, engulfing everything. Within this we have a sole conscious mind succumbing. We drift, we succumb. The art here is homeopathic: we are given an experience in color that has power not in brilliance but in what is not there, what has already been swallowed. The cinematic vocabulary of form — three dimensional space — eating minds denoted by color... it is effective. This is Antonioni's greatest accomplishment, I believe.

Nested in this is an inner cinematic world, an island not yet visited by the diseased lumbering ships that spew clotted filth. It is just starting to be explored by a keen, clean sailing vessel. This is literally an island populated by a Miranda, the young, still vibrant inner self that remains of our on-screen body, the woman we have besieged in the outer film.

But this inner film is a contrast: color abounds. The forms do not contain, they rest. The colors have subdued and incorporated the forms that flow. In a subconscious way, these informed my life as an architect, first in form and later in more encompassing conceptual form. We have a newly adolescent girl on the beach, experiencing rather than observing. Her own inner form hinted at futures in the same way that the outer film's colors hinted at rich pasts.

And at about 1:22 in, we have those waves. The filmmaker has not only manipulated contrasts in color and form, but in the sound experience as well. At this inner beach, the sound is lush, hyper real. We have a few moments of the fullest life you can experience as we hear the smallish waves encounter the beach. May you enjoy and cherish these curated sounds.

In most beaches, each wave is shaped not by an encounter with the sand, land, but by an encounter with the preceding, receding wave, newly exhausted by its desires and reseeding a growing desire in the next. It is a water to water rhythm of desire that incidentally involves the form of the beach.

Not here. The waves are gentle enough to speak directly to the beach. We have not stirred the greater urges yet: the girl is young — as young as I was (being male). The caress of water on sand conveys the soft swallow of coarse sand, pillowing and sucking the water. A soft thump unlike anything else, that can only be evoked in memories as primal as taste: scotch, sex, sea air.

May you find something like this experience in your encounter with cinema, something to anchor the story you tell yourself about ideal order.

(That same beach is mapped onto a shack, outside to inside and painted red in the later images.)

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.


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