L'eclisse (1962)




Many people find it difficult or even boring to watch Antonioni’s movies. But it wasn’t until I watched all three pieces and Red Desert, analysing various aspects, and I comed to conclusion that Antonioni’s movies are masterpieces, especially L’Eclisse and Red Desert. In his movies cinematography/photography is just breathtaking, and landscapes are brilliantly connected to essence of story. Due to comparisons with Ingmar Bergman, I ‘ll have to say that it’s important to distinguish those two, as Bergman was known for his brilliant dialogues, while Antonioni’s motions capture the real beauty, disgrace and spirit of the time. It’s more difficult to compare him with other italian directors, such as Fellini or even Pasolini, cause they’re all quite a story for themselves.

Antonioni’s L’Eclisse is definitely the best one in whole trilogy (L’Avventura, La Notte, L’Eclisse). Dissatisfaction of modern man and trouble with finding any connection; boredom and dissapointment of modern world, brilliantly linked with the main point, and music which gives gist to every motion. Despite my personal preferences towards Sophia Loren or Claudia Cardinale, Monica Vitti’s performance in all three movies, and then in Red Desert was just like it supposed to be, charming, in sense, one word – exquisite. Alain Delon is, beside Marcello Mastroianni, perhaps the only actor who could bring forward such a role and put up with Antonioni’s demands and requests.

In this movie (L’Eclisse) like in La notte and La avventura, Antonioni is commonly refering to meaning of love and commitment between two people through a day-by-day conversations, sometimes quite trivial and meaningless. But if you watch carefully, you’ll find the true meaning in this and all his other movies, and you’ll just have to admit that he was a bloody genius.

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