Based on a true story, a Jewish scientist escapes from a train on its way to a concentration camp and hides by disguising himself as a performing bear. When the scientist's identity is revealed, the unexpected happens.
The White Bear by Jerzy ZARZYCKI as a part of a series of film showings Jewish Motifs in the Polish Cinematography with introduction by Prof. Tadeusz LUBELSKI (Film Institute of the Jagiellonian University
有关那些漂泊的导演，依稀思乡的影像。
I've seen this movie some years ago, and I remember that it had the most beautiful photography. Antonioni chose to film real-life persons, instead of casting professional actors. Documentary-like, but still fictional, it tells the story not only of the people, but also of the River Po, in Italy.
The only available copy is very much underexposed so it's hard to actually see what is going on in this early Antonioni venture. However, it explores the wee hours of a profession altogether unglamorous and is a small tribute to people that keep European cities from being overrun by rats and rubbish.
A worthy pursuit and too bad that Antonioni's crew did not have a better light meter at hand
Antonioni's first films - 35mm. one reelers for theatrical showing - are quite watchable, though they would be forgotten now if the name of the director of his prestige art movies, L'AVENTURA and the rest, wasn't attached.
The earliest of his shorts are the best and, like his others from the period, this one has dramatized scenes. It shows women preparing home magic cures and sinister witch types applying curses. The shot of the viper writhing in the flames will disturb quite a few. Technicall...
Although Michelangelo Antonioni's feature films were almost all entirely against everything the neo-realist movement purported to be (Il Grido (1957) being the exception), his early documentaries always possessed hints of the movement. His documentaries were always about the working class, from the street cleaners of N.U. (1948) to the river workers in his first documentary, Gente del Po (1943). In the way he stuck unabashedly with the working class he resembled his apprentice, Roberto Rossellin...
Bomarzo/ / Michelangelo Antonioni
有关那位传奇建筑师的 影像想象
Antonioni’s belated feature-film debut is a fine romantic melodrama which is actually a variation on a favorite noir theme – that of the lovers planning to dispose of a third party who stands between them. Another genre device adopted here is the investigative framework – with the intended victim himself, the girl’s husband, suddenly deciding to pry into her past.
Paradoxically, the young couple had been involved in the ‘accidental’ death of the man’s ex-girlfriend – and, unaware of the...
Clara Manni (Lucia Bosé), a shop clerk, came to Rome in order to become an actress. She was discovered by Gianni (Andrea Checchi), a film producer. Now it seems that she's hit the big time. The film she's making now is bound to be a success. She's a star on the rise. Gianni, the producer, is in love with her, and rushes Clara into marriage with the complicity of her parents. She's not really in love with him but marries him all the same. Marriage at the time was a kind of moral (if not financial...
This was Antonioni’s third film and arguably his rarest from the pre-AVVENTURA period. Taking an episodic structure, it is a sober treatment of juvenile delinquency – showing a widespread alienation affecting the youth of the post-war years in various European cities. The film has a rough, torn-from-the-headlines feel to it – even if the director’s perspective isn’t nearly as acute as in his later, more polished work (tending also towards preachiness, beginning from the opening montage).
T...
This film is included in Parker Tyler's "Classics of the Foreign Film," a seminal book published in the 1960s (perhaps updated since then). I saw it for the first time recently through a videotape available at a local university. The film captures aspects of 1950s Rome fairly well, the best segment concerning a Sicilian woman who, having a baby boy out of wedlock, cannot pay for the child's care due to her inability to obtain work. Out of desperation she abandons the child in a park. He is rescu...
Lorenzo Codelli introduced this film as the only real literary adaptation by Michelangelo Antonioni, based on a short novel written by Cesare Pavese, whose short life but impressive career had a largely influential impact on Antonioni's works. It's a film about women (the literal translation of the title of the story "Tra Donne Sole" means "Between Women Only"), in today's context known as the career girls, and it's also interesting to note that the co-writers of the screenplay were both female,...
I assume this isn't the easiest film for people to see. It isn't on video (to my knowledge), doesn't turn up at cinema's. In Australia it turns up occasionally on our foriegn language channel as part of their "sword & sandal" series. And my God, Anita Ekberg. Already a fan of her....um, talents. This film offers a rare view of more of her talents than before. Her outfits are very sensuous. Given the chance to meet her, I think my manhood would have shrunk away, as she is a very powerful icon, ye...
Having recently seen L'Avventura and Scenes from a Marriage back to back they seem as different as it is possible to be. Yet they do share a common ground, namely humanity's quest for love and understanding and the seemingly insurmountable obstacles that lie in the way. But whereas Bergman's film has moments of true warmth and happiness, Antonioni's L'Avventura is as brutally cold as a Scandinavian winter.
Plot summary is not entirely important (and would spoil potential surprises), suffice to ...
Its better to wander into this film without knowing too much. The performances are all outstanding but the main credit must be handed to the artist behind it all Michelangelo Antonioni. It would have been quite beautiful to have seen this film when it came out, but even after all these years the themes still resonate as true.
I don't want to get into the plot too much, but this film is more about feeling. The friction and differences between husband and wife are explored.
Antonioni doesn't for...