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    The Red Desert (1964)

    Posted By: Someonelse
    Date: 6 Jul 2011 03:58:02
    The Red Desert (1964)

    The Red Desert / Il Deserto Rosso (1964)
    A Film by Michelangelo Antonioni
    DVD9 | ISO | PAL 16:9 (720x576) | 01:53:05 | 7,37 Gb
    Audio: Italian AC3 2.0 @ 224 Kbps | Subtitles: English
    Genre: Drama | 4 wins | Italy, France

    Cold, rain, and fog surround a plant in Ravenna. Factory waste pollutes local lakes; hulking anonymous ships pass or dock and raise quarantine flags. Guiliana, a housewife married to the plant manager, Ugo, is mentally ill, hiding it from her husband as best she can. She meets Zeller, an engineer en route to Patagonia to set up a factory. He pursues her, they join friends for a dinner party of sexual play, then, while Ugo is away on business, she fears that her son has polio. When she discovers the boy is faking, she goes to Zeller, panicked that no one needs her. He takes advantage of her distress, and she is again alone and ill.

    IMDB
    DVDBeaver - Comparison
    DVDBeaver - Review

    Filled with industrial angst and indistinct anxiety, Vitti’s Giuliana wanders through her rusting, rain soaked, smoky hometown, barely able to cope with the challenges that her life presents her, in Antonioni’s strikingly shot, disquietingly scored, and affectingly acted magnum opus.
    Iain Stott
    The Red Desert (1964)

    It’s interesting to note that, although they had come by very different routes despite at one point collaborating on one film together (The White Sheik), by the time they came to make their first colour films at roughly the same time, both Federico Fellini and Michelangelo Antonioni had felt they had taken their work as far as it could go and were looking for a new way of expressing their ideas through cinema. That direction and break from tradition was certainly marked out by Fellini in his last black-and-white film 8 ½, while for Antonioni, his trilogy of films featuring Monica Vitti, L’Avventura, La Notte and particularly the final extraordinary abstract moments of L’Eclisse also strongly indicated a new path to be explored. Co-incidentally, both directors seized on the opportunity to make their first colour film to experiment with the new dimension this afforded, using colours to explore a heightened inner reality of their characters. Inspired by LSD trips to explore his own personal obsessions through dream imagery, there is consequently little sense of realism in Fellini’s Giulietta degli Spiriti (1965) and Antonioni adopts a similar approach to colour in Red Desert (1964), also pushing it far beyond naturalism, but without the often hackneyed imagery and overt symbolism of Fellini, seeking rather to find a more original means to better represent the nature of his characters in relation to their environment.

    The Red Desert (1964)

    It’s a particularly disturbed representation of alienation in response to industrialisation that Antonioni depicts in Red Desert, the film set in the industrial landscapes of the port of Ravenna on the east coast of Italy. The men who work at the oil refinery there are cold and emotionally distant, out of touch with normal human feelings, but they have adapted to their environment with frightening facility and even pragmatism. The film focuses primarily however on Giuliana (Monica Vitti), the wife of the manager of the refinery, Ugo (Carlo Chionetti), and the sense of alienation would seem to be rather more emotionally disturbing to the female nature, the viewer soon learning that Giuliana has been hospitalised after a car accident which transpires to have been a suicide attempt. While even her young son, a mere child, will even eventually betray her, there is one man she believes can relate to what she is feeling. Corrado (Richard Harris) has also come to the fear his own environment but can see no other means of escaping it than to keep on moving. He intends to set up his own oil business in Patagonia and is looking for employees willing to make the journey with him, but while exploring options with Ugo, he becomes fascinated by this strange woman so disconnected from the world around them who is seeking to find some means of living in it.

    The Red Desert (1964)

    Although it can be somewhat disorientating, making sudden leaps in time and location, the disorientation is appropriate to the subject and the basic premise of the love affair at the centre of Red Desert is still quite evident. There is much more to the film however than it being a simple commentary on alienation and disassociation from human feelings in a cold, unemotional modern industrial environment. There are many ways of viewing Red Desert, but seeing it in any one way to the exclusion of the others is to miss the multiplicity of riches in the film or in Antonioni’s treatment which achieves an extraordinary emotional resonance that is scarcely detectable or even visible in any one element of the film. Certainly the film can be enjoyed on a purely aesthetic level. It’s a strikingly beautiful film to look at - the framing, colour balance and precision of the photography attesting to the nature of the industrial landscape, with threatening geometrical structures and technology that suggest only death, or at least the absence and incongruity of humanity.

    The Red Desert (1964)

    The importance of the characters in relation to this environment is then also important, as is the journey they travel through it, Giuliana wanting to escape through the colours she wishes to paint her shop and in the story she tells her son, the only place where naturalistic colours can be seen in the film. All the elements are important certainly, but they are constantly thrown off-balance – the narrative, the manipulated colours of the locations and the characters themselves. The internal gyroscope has failed and it is becoming increasingly difficult to recognise true human emotions that have become lost or corrupted, normal appetites twisted into the striving for mere sexual conquests and business acquisitions, neither of which ever seem to bring any satisfaction.

    The Red Desert (1964)

    As a whole, the altering of balance in this combination of every element from the relationships of the characters to the colouration creates a dissonance of its own. It’s the indefinable then that drives Red Desert, the struggle of its characters to comprehend who they are and how they are meant to relate to the increasingly unfamiliar and alien world around them, and to other people who live in it. Whether it is expressed through the radio telescopes that are attempting to listen to the random noise of the stars for a coherent message or through the connections between them that Corrado and Giuliana try to explore, it’s about attempting to find something real and meaningful in this strange world around them. It’s not enough to string together what Giuliana describes as “a nice bunch of words”, nor is it enough for Antonioni to string together a nice bunch of images. Something else must arise out of them. Whether the director achieves that will be down to what the individual viewer makes of it all, and some might not find that there is anything particularly deep in Antonioni’s vision of the world in Red Desert, but the means by which he attempts to control and extend the range of cinematic expression here in every single element, in every single frame and in every word is remarkable, the director indeed finding another level upon which cinema can work and express the inexpressible.
    Home Cinema
    The Red Desert (1964)

    If I could, I would deify this film. What most impresses me about a film is exhibited here to the utmost: mood. After this film is done, I feel completely destroyed. If you did not feel alienated from the world around you when you started, you will be by the end. If you were feeling alienated when you started, then you may just be contemplating suicide when the film ends. This mood is absolutely crushing. It affects me more than any other film, with some exceptions that are equal with it - 2001, Persona, The Passion of Joan of Arc, and maybe a couple of others that I can't think of offhand. Red Desert is a perfect film. If anything else, at least one must be able to appreciate the masterful visual composition. If you're dismissing this film, you're really missing something.
    IMDB Reviewer
    The Red Desert (1964)

    Edition Details:
    • Michelangelo Antoniuoni: A Portrait (55:37)
    • Commentary by Rolando Caputo
    • Trailers by Ozu, De Sica, Kiarostami, Visconti etc.
    The Red Desert (1964)

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