L'Eclisse (The Eclipse) does not actually feature an eclipse, except poetically. The first of these occurs when Monica Vitti's character hides and reveals the boyfriend she is breaking up with. Atonioni plays a game of light and dark throughout, sometimes visually (at its unfortunate worst, when Vitti is inspired by stories of Kenya to dance around in black face), sometimes through the theme of sudden absence, which can be seen in everything from big losses at the stock market to fleeting looks on Vitti's face when she appears to momentarily fall out of love with Alan Delon's trader. It all culminates in an experimental sequence where the characters disappear from the drama as the film becomes a disquieting tone poem. I respect the director's process a lot here, but like his previous film, L'Avventura, the pace is quite slow, or even when there's a lot of energy on the screen, it feels like everything is happening in real time - the trading floor sequences specifically. Antonioni requires the right frame of mind, but Vitti, at least, is good for any occasion.
Would be a nearly perfect film if not for the black face scene where the magnificent Monica Vitti resembles a 60's Megyn Kelly. All that aside, the dedication Antonioni gives to his process of storytelling and the depth of vibrant humanity his listless characters portray never cease to astound. Siskoid's post is also spot on.
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As3d
One of the very best films I ever witnessedDieguito
Masterpiece of Antonioni, ending the Incomunicability Romantic Trilogy after L'Avventura and La Notte! Monica Vitti is absolutely wonderful!!!Siskoid
L'Eclisse (The Eclipse) does not actually feature an eclipse, except poetically. The first of these occurs when Monica Vitti's character hides and reveals the boyfriend she is breaking up with. Atonioni plays a game of light and dark throughout, sometimes visually (at its unfortunate worst, when Vitti is inspired by stories of Kenya to dance around in black face), sometimes through the theme of sudden absence, which can be seen in everything from big losses at the stock market to fleeting looks on Vitti's face when she appears to momentarily fall out of love with Alan Delon's trader. It all culminates in an experimental sequence where the characters disappear from the drama as the film becomes a disquieting tone poem. I respect the director's process a lot here, but like his previous film, L'Avventura, the pace is quite slow, or even when there's a lot of energy on the screen, it feels like everything is happening in real time - the trading floor sequences specifically. Antonioni requires the right frame of mind, but Vitti, at least, is good for any occasion.Phillipe Marlowe
My top favorite!!seventhsamurai54
Great analysis: http://www.davidsaulrosenfeld.com/marioracing89
Martin Scorsese on Michelangelo Antonionihttp://www.youtube.com/watch?v=0d0eFv1vHxo
(mod-edit: clip only available in CA,IT,JP,US)
thestuman101694
Would be a nearly perfect film if not for the black face scene where the magnificent Monica Vitti resembles a 60's Megyn Kelly. All that aside, the dedication Antonioni gives to his process of storytelling and the depth of vibrant humanity his listless characters portray never cease to astound. Siskoid's post is also spot on.nicolaskrizan
Antonioni at his best!(mod-edit: dead link removed)
Skyscore
http://www.afisha.ru/movie/166015/review/154839/