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    Le Amiche (1955)

    Posted By: Someonelse
    Date: 10 Apr 2011 13:45:16
    Le Amiche (1955)

    Le Amiche / The Girlfriends (1955)
    A film by Michelangelo Antonioni
    DVD9 (VIDEO_TS) | Lang: Italian | Subs: English | NTSC 4:3 (720 x 480) | AC3 2.0 @ 256 Kbps | 01:46:21 | 6,18 Gb
    Genre: Romance, Drama | 3 wins & 1 nomination | Italy

    Academy Award-winning director Michelangelo Antonioni (Blow up, Beyond The Clouds) explores women's evolving role in society and the conflict between love and career in this engrossing drama. Clelia, a beautiful young woman who lands her dream job in a glamorous Italian fashion house, soon finds herself plunged into a cruel world of phony, shallow people. The only honesty in her life is the pure love offered by Carlo, a young, socially impoverished assistant architect. But is it enough? With its fascinating, multi-layered story, rich characterizations and superb performances, Le Amiche remains one of Antonioni's most beloved works.

    IMDB

    (1955) Literally, “The Girlfriends.” After many years, aristocratically nostrilled Eleonora Rossi-Drago has returned to Torino to open a branch of a Roman fashion salon, but the day she arrives begins badly when apparent suicide Madeleine Fischer is discovered in the next hotel room, and work on the salon is hopelessly behind schedule thanks to playboy architect Franco Fabrizi. But Fabrizi’s young blue-collar assistant is immediately simpatico, and Fischer’s cynical, buttinsky “best friend” Yvonne Furneaux introduces her into the local social circle: successful ceramic artist Valentina Cortese (Thieves’ Highway, Day for Night), recently married but already doubting her husband; unsuccessful painter Gabriele Ferzetti (L’Avventura); frivolous Annamaria Pancani; mutual friend Fabrizi; and the resuscitated Fischer herself. Antonioni’s first critical hit, winner of the Silver Lion at Venice, is a marvel of fluid, riveting storytelling, his long takes and constantly moving camera observing both intimate confrontations and his complicated yet seemingly effortless staging of large groups constantly realigning themselves, at a flop outing to a wintry beach; at a tea party with guests arriving and departing; and a fashion show where recriminations fly amidst haute couture — with a muted train station climax highlighting striking b&w photography by the great Gianni Di Venanzo.
    A FILM DESK RELEASE
    Restored by Cineteca di Bologna at L’Immagine Ritrovata with funding provided by Gucci and The Film Foundation.

    Le Amiche (1955)

    Antonioni’s quietly audacious attempt to convey the inner workings of modern life… What makes this drama mysteriously original is the details: the architectural contours of the film’s myriad locations seem to determine the action of the people who traverse them, and such visual creations as portraits, reflections, sketches, and eye-catching clothing have more reality than the empty, miserable characters to whom they lend identities.
    Richard Brody, The New Yorker
    Le Amiche (1955)

    AMONG THE MOST ENTRANCING VIEWS OF LOVE'S DEVASTATION THAT THE MOVIES HAVE EVER SEEN!
    Unfolds in a bourgeois Turin of sharp angles, harsh, clear light, endless looks, and poses, with people urging each other to connect but unable to do so themselves.
    Aaron Cutler, SLANT
    Le Amiche (1955)

    For those approaching it in 'historical reverse', that is AFTER knowing the 'Trilogy' ("L'Avventura" "La Notte" "L'Eclisse") and "Il Deserto Rosso", the film is stunning in the way it prefigures nearly all the themes the director would continue to explore in his somewhat more daring works of the 1960s. In the character of Clelia (played by the beautiful Eleonora Rossi Drago) can be seen the ancestor of Monica Vitti's Claudia in "L'Avventura": she is an outsider, curious and compassionate, who is coming to terms with her own sense of self. Gabriele Ferzetti plays Lorenzo, a frustrated artist, much like his lost architect in the same famous film. And in Rosetta (Madeleine Fisher) is prefigured the enigmatic Anna go 'goes missing' on the immortal volcanic island. Yvonne Furneaux's Momina embodies the superficial leisure class characters with whom Antonioni will continue to populate his next three or four films. And Nene (Valentina Cortese) acts out the director's great theme of forgiveness.

    Le Amiche (1955)

    But it is not just in the characters that "Le Amiche" points toward the future. There are many scenes of wandering, along city streets, or beaches. Casual sexuality it presented not for its sensual or aesthetic appeal, but as an empty attempt to connect. And the great chasm of miscommunication between men and women is on full view. Yet, even in 1955 the director knows that all is not black and white. Characters of the same gender don't really understand one another either. The film seems to ask a difficult question: is it possible to 'be yourself' and still need others? Clelia finds a difficult answer, while Nene seems to find its mirror image.

    And speaking of mirrors, the famous 'doubling' technique is here in germ form as well. In the very opening shot, Clelia looks into the hotel bathroom mirror while drawing her bath: she is about to find her self divided in her feelings about her soon-to-be new friends and her old home town of Torino. Later, she regards her reflection in a shop window mirror before deciding to pursue a romance with the handsome Carlo (Ettore Manni).

    Le Amiche (1955)

    Possibly most interesting of all is Rosetta, who, in attempting suicide, is trying to 'disappear'. The film makes it more than clear that this character has no real sense of self: she is dependent upon the affections of a man and the perceived loyalty of her mostly vacant friendships. There is a telling scene with Lorenzo in which she feeds off his flattery. And, in a beautifully acted scene aboard a train, Clelia tries to help her understand the importance of connection to others, never realizing how unstable Rosetta truly is.

    Antonioni would in his next feature, the marvelous "Il Grido", begin to streamline his technique. "Le Amiche" has far more characters than he would later prefer, and they talk constantly. There are virtually none of the characteristic, nearly silent sequences that will inform his later works. Nor does landscape play the commanding role it will assume in the 1960s. Also, the two main narrative threads of "Le Amiche" (Clelia and Rosetta/Lorenzo/Nene) will be reduced to one for nearly all his remaining films.

    Essential Antonioni.
    mackjay, IMDB.com
    Le Amiche (1955)

    Features:
    • Beautiful new transfer of the film in its original 1.37:1 aspect ratio.
    • Newly translated optional English subtitles
    • A new and exclusive video introduction to the film with critic and teacher Gabe Klinger
    • A new and exclusive video featuring Gabe Klinger discussing the arc of Antonioni’s entire career
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