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    3. L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    Posted By: Someonelse
    Date: 4 Apr 2014 15:39:00
    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    L'Eclisse (1962) [The Criterion Collection #278]
    2xDVD9 | VIDEO_TS | NTSC 16:9 | Cover + Booklet | 02:05:53 | 12,2 Gb
    Audio: Italian AC3 1.0 @ 192 Kbps + English Commentary | Subs: English
    Genre: Drama, Romance | The Criterion Collection #278

    Director: Michelangelo Antonioni
    Stars: Monica Vitti, Alain Delon, Francisco Rabal

    The conclusion of Michelangelo Antonioni’s informal trilogy on modern malaise, L’eclisse (The Eclipse) tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) only to drift into a relationship with another (Alain Delon). Using the architecture of Rome as a backdrop for the couple’s doomed affair, Antonioni reaches the apotheosis of his modernist style, returning to his favorite themes: alienation and the difficulty of finding connections in an increasingly mechanized world.

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    Criterion
    DVDBeaver

    Michelangelo Antonioni became the highest-regarded art film director of the 1960s, making semi-abstract meditations on modern existence while other greats were repeating themselves or retreating into nostalgia. Antonioni's visually oriented pictures don't require viewers' guides just to understand their surfaces; for all the talk about open-ended plots and patience-straining silences, L'avventura is surprisingly entertaining.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    L'eclisse has a more radical concept and does without even the pretense of a suspense story (as in the fascinating Blow-Up) to make it more accessible to the average genre-oriented audience. The camera simply observes a series of events in a young woman's life that show her responses – or more accurately, her difficulty in finding responses – to what seems a random and soul-less existence. It ends with a seven-minute visual investigation of a commonplace scene that will send anti-art people running for the exits. Stanley Kubrick must have seen L'eclisse when he dreamed up 2001: A Space Odyssey: This picture concludes in a puzzlingly ethereal auteurist mind-trip.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    It's important to stress how well L'eclisse is put together. This is no empty exercise. Even when the leading character Vittoria is just marking time in her apartment or drifting from one scene to another hoping for something to shake her senses, a keen visual imagination is forever finding new ways to look at a scene. Space is used architecturally, and by that I don't just mean that compositions are well organized. The physical relationship between characters and their environment communicate intuitive suggestions - never imposed meanings. We're used to looking for standardized visual signposts and signifiers in films; in this supposedly 'artsy' movie Antonioni doesn't take anything for granted. Events and objects are exactly what they are. His choice of what to show when and how gives us a trail to follow, and even without the barest outline of a plot or even a hint that the movie is going any place in particular, we're hooked.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    We want to watch because Antonioni and Tonino Guerra's virtually invisible script presents a theme without hammering it home. Vittoria and her first lover Riccardo have run dry of emotion or caring. She leaves him, walking off into the strange undeveloped neighborhood where they live. He follows out of habit, not asking her back, but not rejecting her. Nothing is important enough to really go out on a limb for.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    At her first visit to the stock exchange Vittoria gives up connecting with her mother and just watches the action at the hub of materialism, as the happy brokers take advantage of an upswing in the market. She's unmoved. She visits with some friends and plays the role of an African princess after being inspired by some pictures in a book. Her friend, whose huband works in Africa, sours her interest by comparing the African natives to monkeys and children.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    Later on Vittoria flies in an airplane. The vistas of clouds and sky momentarily exhilarate her. She goes back to the stock market, which is having a bad day. The investors blame anything they can for the drop in prices. Vittoria's mother takes a heavy loss, which she has decided is the fault of a socialist conspiracy. Her broker Piero eventually picks up on Vittoria and they start a casual flirtation. Except for a few exceptional moments, Vittoria and Piero's affair has sensation but lacks deeper passions. When they walk together they seem like zombies. He still looks at other women and her attention wanders to other men. Their hands intertwine and play games but only their bodies seem to really get along.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    This is made explicit when a drunk steals Piero's convertible and crashes it into a canal. The authorities haul the car out, revealing the memorable image of the corpse's hand dangling over the car's door. It reminds us of when Vittoria and Piero's casual hands dangled over the furniture when they were courting. Piero has no emotional reaction to the loss of the man or the car - he'll just repair it and sell it.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    For his conclusion Antonioni pulls a narrative trick that still astounds film theorists. Without so much as a by-your-leave, we just drop our two main characters and return to a neutral street corner where Paulo and Vittoria once spent some time. Construction of a building has apparently been halted mid-way, with the structure swathed in tarps. A rain barrel leaks water into the street. People we've seen on the periphery of previous scenes pass by. The absence of the main characters is not missed by anything in the environment, which goes on 'existing' without them. The screen fractures into a series of visual details, pieces of architecture and bric-a-brac glimpsed as if we were standing on the corner and searching for meaning in the randomness of it all. Night falls. The film ends.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    The ending betrays the commercial agreement between filmmaker and audience, for Antonioni is trying to communicate on film what no other medium can portray – a visual expression of his vision of the state of existence. His characters exist to pursue consumer comforts, and only Vittoria displaying even a pretense of a need for more. The material world that we've created doesn't seem to really need us any more, at least not as individuals. Nowhere in the film is there a sense of connectedness, purpose or emotional commitment. Yet the film itself is not a cold statement.

    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    In Red Desert Antonioni reportedly complicates his world view with both stylized color and a mentally disordered heroine (Vitti again). Later on he'd turn to quasi-detective fiction for the more accessible Blow-Up, the movie that flattered ordinary film fans by allowing them to appreciate art along with the expresso set. Then Zabriskie Point came along to expose Antonioni's Achilles heel – even he could be pretentious and self-parodic. That's what happens when you make a film with MGM's schlock marketers: "Zabriskie Point! How You Get There … Depends on Where You're At!" (Inhale on a count of three.) The calm visual grace of L'eclisse remains the pure effort of a cinema artist at the height of his creativity.
    Glenn Erickson, DVD Savant
    L'Eclisse (1962) [The Criterion Collection #278] [ReUp]

    Edition Details:
    Disc One - 7,46 Gb:
    • New, restored high-definition digital transfer
    • Audio commentary by film scholar Richard Peña, program director of the Film Society of Lincoln Center
    • New and improved English subtitle translation

    Disc Two - 4,73 Gb:
    • Michelangelo Antonioni: The Eye That Changed Cinema, a 56-minute documentary exploring the director’s life and career
    • Elements of Landscape, a new, 22-minute video piece about Antonioni and L’eclisse, featuring Italian film critic Adriano Aprà and longtime Antonioni friend Carlo di Carlo

    Many Thanks to Original uploader.

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