Word: antonioni
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Dates: during 1990-1999
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...Dogme spreads beyond art houses, it will be not because it suggests a vital new way to make pictures, but because today's directors feel crushed by technological gimmickry. The camerabatics of the French New Wave, the anti-dramatic films of Bresson and Antonioni, the nonlinear experiments of the American avant garde--each of these was a revolutionary call to arms. Dogme is a call to disarm, to strip away the veneer, to walk without crutches supplied by Industrial Light & Magic. Unabashedly reactionary, Dogme loves innocence; it aims for a primitive purity. "Filmmakers and filmgoers are yearning for something else...
...older, world-weary image--a touch of gray at the temples, a wistfulness for waylaid innocence--that made Mastroianni a worldwide star. As the Dolce Vita gossipist, the moviemaker in Fellini's great 8 1/2 (1963) and the writer in Michelangelo Antonioni's La Notte (1961), he moved like a man in perpetual postcoital ennui, elevating spiritual passivity to a metaphysic and a fashion statement. "Mastroianni" became a kind of emotional cologne for the modern male. And no one wore the style as elegantly as he: the dark suit, the narrow tie, the eyes of a man who's been...
...Zurlini; he lent his bankability to obscure projects. In his last year he starred with Chiara in Three Lives and Only One Death, an elaborate jape by the Paris-based Chilean Raul Ruiz, and appeared with fellow icon Jeanne Moreau in a sweet vignette--a poignant farewell kiss--in Antonioni's Beyond the Clouds...
Another film which is also relatively tame by today's standards, Michelangelo Antonioni's "Blow-Up" was shocking mainly for depicting a photographer's wanderings in the mod scene of 60's England, involving a little playful nudity and a pot party along the way. But the film best demonstrates how underlying themes can make actually controversial elements seem worse. On the surface we see him taking photos of partially nude models and tumbling about with giggling teenagers--these "loose morals," perhaps, were controversial enough. Yet the deeper theme of the manipulative power of photography upon the mind affects...
MICHELANGELO ANTONIONI, director of such quintessentially serious European art films as L'Avventura and Blowup, has said he has "things to show rather than things to say." Thus, despite suffering a stroke eight years ago that left him unable to speak, the 83-year-old was able to direct Beyond the Clouds with the help of WIM WENDERS, himself a director of serious European art films. Instead of talking on the set, Antonioni gesticulated and sketched ideas for shots with one hand. Despite lukewarm reviews, the Oscar nominee's first film in 13 years drew standing ovations last week...