|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
68.230.67.50
'); } // End --> |
In Reply to: Spoiler language: well, I guess posted by tinear on December 8, 2005 at 10:50:14:
"You just didn't understand the alienation expressed in the film. The character Nicholson assumes is a very shady arms dealer and, bored with his life, Jack decides to see exactly what the life is like. He isn't really passionate about it: he doesn't see this as a vehicle for an expose. Rather, he just goes along like... a passenger." Got that."I found the parallel stories of his wife's tracking him as he skinned away the onion's layers fascinating. The visit to the Gaudi Cathedral with Maria Schneider (what a pleasure to watch her!) was a memorable scene." Yup.
"Antonioni isn't for everyone but I certainly wouldn't characterize this film as slow. For the record, you seem to have missed the fact that the character was murdered in what many consider one of modern film's greatest scenes." Yup, I sure did miss that. But since we have to ASSUME that's what happened, perhaps you'll pardon me for missing it. :-)
I guess the movie depicts very well the aimlessness of Locke/Robertson, perhaps too well, in that the movie turned out to be, for me, aimless.
Oh well. As I said, I'm glad it's rereleased for those who appreciate it.
Follow Ups:
enjoyment is heightened if one realizes what Italians were feeling during the post-WWII years, years critical in Italian cinema. The guilt of Italian fascism and the fact that so many Italians had joyfully executed their fellow countrymen, and supported a most brutal regime in Germany, took its psychological toll.
Then, there was the aimlessness of modern industrial life, expressed more strongly in Antonioni's earlier efforts, such as L'Eclisse.
You may have been napping, if you're serious about the ending being ambiguous. It is crystal clear what happened to Nicholson's character.
This post is made possible by the generous support of people like you and our sponsors: