La aventura michelangelo antonioni biography
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We watched incredibly beautiful natural phenomena. This doesn’t mean however that he has to reproduce and interpret its most dramatic events. (NOTE: For educational and research purposes only). At other times, you have to use noises, even if you don’t do that in any realistic way, but rather as if they were sound effects-naturally, in a poetic mode.
It’s true that there are certain let’s say—“musical” moments in the development of a story. Today, this classic of European art films is hailed as groundbreaking, influential, and obviously consequential, but to say it had a rocky start would be a euphemism. At five, we would get on board the boat. Perhaps what is holding us back is the fear of falling into the moral void, even if the void of the cosmos no longer frightens us.
They are characters of today, not of tomorrow.
May I ask the critic who became a director what his idea of film criticism is?
Without criticism, art would lose its strongest supporter.
Of all your experiences in the cinema, which one has fascinated you the most?
The making of L’Avventura.
I don’t want music to provoke such a state of mind; I want the story itself to do it, via images. Satisfaction and gratification soon replaced the initial disappointment, as great reviews brought new viewers and the image of L’Avventura was quickly transformed.
Based on Antonioni’s idea and written in a collaboration between the filmmaker and screenwriters Elio Bartolini and Antonio ‘Tonino’ Guerra, and shot by Aldo Scavarda, the cinematographer who would four years later shoot Bernardo Bertolucci’s Prima della rivoluzione, L’Avventura stars Monica Vitti, Gabriele Ferzetti, and Lea Massari.
In many countries, cinema is no longer able to compete with television, although from the artistic point of view television is at a much earlier stage of development.
These are the questions that we have to ask ourselves when we think about the subject for a film. In those moments, music does have its place. I don’t remember, but I do remember the charge that ran through me the first time I heard that opening musical theme – ominous, staccato, plucked out on strings, so simple, so stark, like the horns that announce the next tercio during a bullfight.
This is alarmingly apparent in today’s films, and instances of interesting experimentation remain isolated incidents. Directors such as Martin Scorsese and Stanley Kubrick have cited L’Avventura as a profound influence on their work.
The film’s impact on modern cinema is undeniable. And yet I believe that the principle of “ever-greater truth” which in its most crude form is at the root of Italian neorealism, should today be broadened and deepened.
In a world that, in some respects, has become closer to normal, what counts is not so much-or not just-the relation ship of the individual to his environment, but rather the individual per se, in all his complex and disturbing truth.
Why? Why do we refuse to push ourselves to the outer edges of our moral universe?