7.6/10
13,844
53 user 89 critic

Red Desert (1964)

Il deserto rosso (original title)
Not Rated | | Drama | 8 February 1965 (USA)
Trailer
1:24 | Trailer
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

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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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Did You Know?

Trivia

After L'Avventura (1960), La Notte (1961) and L'Eclisse (1962), this would be the last of Michelangelo Antonioni's collaborations with Monica Vitti until The Mystery of Oberwald (1980). See more »

Quotes

Giuliana: I may be wrong... but I really think... I want to make love.
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Alternate Versions

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

Connections

Featured in Histoire(s) du cinéma: Les signes parmi nous (1999) See more »

User Reviews

An excellent film
26 April 2002 | by Zen BonesSee all my reviews

For the most part, I've never been terribly impressed by the "new wave" movements in the French and Italian cinema of the 1960s. How many times do we have to watch the upper middle class intelligentsia wallowing in their designer-alienated angst? And why don't those films ever bring up any mention of altruism? Perhaps those folks wouldn't feel so alienated if they got off their seats at the cafe, or on their yacht, and actually tried to participate in the world. Maybe they could help those who don't have the leisure to whine about their hardships in life. Or maybe they could even do something to counter the coldness and ugliness that surrounds them.

This film is different, because this time the isolation and coldness is real and tangible, and we are entrapped by it as much as the main character is. We can see the ugliness and filth sweeping over everything like a virus. And we can see how isolated one becomes when one discovers that s/he is the only one who seems to be sensitive to it. No one really sees or listens to Giuliana (including, I'm sorry to see, some of the commentators here at IMDb!). The people around her see her 'function' (wife, mother, sexy lady) but not her identity. I will admit that Monica Vitti isn't terrific in this. She gives a great 'performance', but it seems too much a performance. If she had been anything like Gena Rowlands in A WOMAN UNDER THE INFLUENCE, this film would be a masterpiece. As it stands, it's still an excellent film.

As for this film's use of colors... I heard once that if you drop a copper penny into a goldfish bowl, it will eventually drain all the color from the fish. I don't know if that's true, but that is what essentially has happened to the town that's depicted in this film (and sadly, thousands of similar places all over the globe). People have adapted. And real color has been drained out of everything. The only colors we see in the film are manmade. Thick, bright, glossy paint coats everything from walls to houses to the pipes in the factories. There are no natural colors that contain any real texture or sensuality or warmth. Even the "natural" elements look unreal. The land is riddled with greenish muck, the sea is coated with muddy oil, and the sky is choking in clouds of frightening yellow smoke. The painted colors that we see throughout the town function like pink pebbles in a dirty goldfish bowl. It is a distraction that rapes one's senses. It's like muzak in an elevator. And by the end of the film, like Giuliana, we are suffocating from it.

There's an incredible scene about two-thirds of the way through the film where we escape with Giuliana in her mind to a dream world. There, the colors radiate from the shimmering sea, and the sand and the sky. And the surrounding hills have more sensuality and texture than the people in Giuliana's real world. I'm glad that Antonioni gave us this image. This film is certainly depressing, yet it has balance. There are few places left on this planet like Giuliana's pastoral island. But the fact of that image gives us a glimmer of hope, like Winston Smith and his journal in '1984'. Even if the only beauty that exists is in our minds, that's something.

I think this is definitely Antonioni's best film. It isn't for all tastes, but then, the best films never are.


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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 »

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Box Office

Cumulative Worldwide Gross:

$7,076
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
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