The Italian director’s rereleased debut 1950 feature is a stylish study of wealth, ennui, guilt and fear - with an exceptional central performance by Lucia Bosè
Seventy years on, Michelangelo Antonioni’s brilliant debut movie is now rereleased: a sleazy, seedy neo-realist noir set in postwar Milan, all about shame, desire, self-hate and furtive surveillance. Judging by this, Antonioni could have had a career like Chabrol’s, or Hitchcock’s. Instead, after a run of conventional (and expertly made) movies, Antonioni released L’Avventura in 1960, switching up to the languorous, complex, enigmatic style that made him internationally famous, and it became possible in retrospect to separate his career into the pre- and post-Avventura phases.
Related: Michelangelo Antonioni: centenary of a forgotten giant...
Seventy years on, Michelangelo Antonioni’s brilliant debut movie is now rereleased: a sleazy, seedy neo-realist noir set in postwar Milan, all about shame, desire, self-hate and furtive surveillance. Judging by this, Antonioni could have had a career like Chabrol’s, or Hitchcock’s. Instead, after a run of conventional (and expertly made) movies, Antonioni released L’Avventura in 1960, switching up to the languorous, complex, enigmatic style that made him internationally famous, and it became possible in retrospect to separate his career into the pre- and post-Avventura phases.
Related: Michelangelo Antonioni: centenary of a forgotten giant...
- 7/23/2020
- by Peter Bradshaw
- The Guardian - Film News
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