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4.235.251.172
As good as any of his films (which means it automatically is one of the best, period), this early film stars an unlikely actor, American character actor Steve Cochran, famous for his B-film roles as a gangster or a hard-living playboy.
A laborer loses his woman precipitating his fall into homelessness, wandering, and casual affairs.
Yes, many critics hail this brilliant film as an allegory of modern man and his isolation but it also may be appreciated for its realism and humanity. No, unlike in a typical French film, the hero doesn't engage in long introspections about the meaning of his lot yet by the end of the film one knows Aldo very well... and where he is going.
For those who love Italian machines, there are several bonuses, i.e. 50s era sports cars, motorcycles, and power boats.
This is as perfect a movie as I can recall, not one frame could be removed.
Lastly, I'd be remiss not to mention the exquisite beauty of the women, though his love interest, strangely, I found the least attractive.
Follow Ups:
Grido's my favourite from the Antonioni catalogue. Stark scenes of the Po valley and river. Wonderfully lensed by Gianni de Venanzo, who also worked with Fellini. Heartbreaking script. Added bonus is the sight of Dorian Gray, in the words of one Mr Jagger - she blew my mind.
I just finished seeing "The Passenger" for the first time. (Funny thing---the next day on TV I caught Jack Nicholson in one of his more recent films---"Something's Got To Give"---it was almost painful to watch him after seeing TP. In his more recent roles he seems to be doing a cariacature of himself. But I digress.)I've recently made my way through La Notte, L'Avventura, L'Eclisse, Blow Up, and TP. I figure I should go back to the beginning and see Il Grido when I get the chance.
I love the way silence and scenery almost become characters themselves in Antonioni's films...
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