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| Michelangelo
Antonioni |
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| Director
/ Screenwriter / Editor |
| 1912 - 2007 |
| Born September 29,
Ferrara, Emilia-Romagna, Italy |
| Key
Production Countries: Italy, France |
| Key Genres:
Drama, Psychological Drama, Ensemble Film |
| Key
Collaborators: Tonino Guerra
(Screenwriter), Eraldo Da Roma (Editor), Giovanni Fusco (Composer),
Monica Vitti (Leading Player), Pierro Poletto (Production Designer),
Gianni Di Venanzo (Cinematographer), Carlo Ponti (Producer), , Elio
Bartolini (Screenwriter), Carlo Di Palma (Cinematographer), Lucia Bose (Leading Player) |
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Highly
Recommended:
Story of a Love Affair (1950), Il Grido (1957),
La
Notte (1961) |
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Recommended: L'Avventura (1960), Red Desert (1964), Blow-Up (1966) |
| Links:
[
IMDB ] [
TCMDB ] [ All-Movie
Guide ] [ Senses
of Cinema: Great Directors ] [
Film Reference ] [
Derek Malcolm's Century of Films ] [ Michelangelo
Antonioni Archive ] [
Wikipedia ] [ Strictly
Film School ] [ 1960
Cahiers du Cinema Article by Antonioni ] [ World
Socialist Web Site Article Part I &
Part
2 ] [ Biography
and Filmography ] [
New York Times Article (2007) ] [
Hollywood Reporter Article (2007) ] [
Telegraph Article (2007) ] [
The Boston Phoenix Article
(2007) ] |
| Books:
[ Antonioni,
or, the Surface of the World ] [ The
Films of Michelangelo Antonioni ] [ The
Architecture of Vision: Writings and Interviews on Cinema ] [
Michelangelo Antonioni ] [
That Bowling Alley on the Tiber: Tales of a Director ] [
My Time With Antonioni: The Diary of an Extraordinary Experience ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: L'Avventura
(1960), La Notte (1961), L'Eclisse (1962), Red Desert (1964), Blow-Up
(1966), The Passenger (1975) |
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"Antonioni's films are
almost plotless, their narrative vagueness almost bordering on
mystery. Interest centers on the female, with the male
functioning as a catalyst...His reputation rests mainly on his
films of the early 60s, truly original works by one of the most
remarkable creative artists of the postwar cinema." - (The
MacMillan International Film Encyclopedia, 1994) |
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"It was his
association with the actress Monica Vitti in four films -
L'Avventura, La notte, L'eclisse and The
Red Desert - that brought his work to the attention of a
wider international audience, with bleak, fragmentary pictures
of characters drifting away from each other, and even from
reality. His unique control of camerawork, often moving in long,
slow, sometimes circular pans, stamped his work with a highly
individual quality of emotional tension." - David
Quinlan (Quinlan's Film Directors, 1999) |
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"At
times, his cool, detached observations tend towards abstraction,
reducing humans to objects; but in his best work, as in The
Passenger, whose stunning, slowly advancing final
seven-minute shot shows life in a Spanish village continuing
while the reporter is killed off-screen, his bold masterly style
transcends pictorial mannerisms to achieve a metaphysical
resonance and rigour." - Geoff
Andrew (The Director's Vision, 1999) |
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"When a scene is being
shot, it is very difficult to know what one wants it to say, and
even if one does know, there is always a difference between what
one has in mind and the result on film." -
Michelangelo Antonioni |
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"You know
what I would like to do: make a film with actors standing in
empty space so that the spectator would have to imagine the
background of the characters."
-
Michelangelo Antonioni |
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