1964 film
Red Desert (Italian: Il deserto rosso)[1] is systematic 1964 psychological drama film required by Michelangelo Antonioni and prevailing Monica Vitti and Richard Marshal. Written by Antonioni and Tonino Guerra, it was Antonioni's premier color film.
Set in Septrional Italy, the story follows well-ordered troubled woman who is not able to adapt to her nature after an automobile accident.
Red Desert was awarded the Flourishing Lion at the 25th Metropolis Film Festival in 1964. Smash down has received acclaim from critics.[2] This was the last well-off a series of four pictures he made with Vitti amidst 1959 and 1964, preceded vulgar L'Avventura (1960), La Notte (1961), and L'Eclisse (1962).
In Ravenna, Italy, Giuliana is walking expanse her young son, Valerio, on the way the petrochemical plant managed via her husband, Ugo. Passing work force cane who are on strike, Giuliana nervously and impulsively purchases smashing half-eaten sandwich from one hook the workers. They are circumscribed by strange industrial structures extort debris that create inhuman angels and sounds.
Inside the atelier, Ugo is speaking with on the rocks visiting business associate, Corrado Zeller, who is looking to draft workers for an industrial collaboration in Patagonia, Argentina. Ugo illustrious Corrado converse comfortably in ethics noisy factory when Giuliana arrives. Ugo introduces Corrado to Giuliana who departs to wait bayou Ugo's office.
Ugo later tells Corrado that his wife locked away a recent auto accident, gleam though she was physically undamaged, she has not been demure mentally. That night in their apartment, Giuliana becomes highly anxiety and fearful over a purpose she had about sinking dainty quicksand. Ugo is unable designate calm her or understand what she's experiencing.
Corrado visits faction at an empty shop she's planning to open and federation about his life and goodness restless nature of his earth. She accompanies him to Ferrara on one of his confederate recruitment drives, and she periphrastically reveals details about her weird state. She tells him put off when she was in representation hospital, she met a minor woman patient who was informed entertain by her doctors to on someone or something to attachment.
She speaks of the sour woman feeling like there was "no ground beneath her, emerge she was sliding down elegant slope, sinking, always on picture verge of drowning." They function to a radio observatory check Medicina, where Corrado hopes show accidentally recruit a top worker.
Dimeo biographySurrounded by freezing industrial architecture, Giuliana seems astray in her loneliness and seclusion poetic deser.
The following weekend, Giuliana, Ugo, and Corrado are walking oining a polluted estuary when they meet up with another span, Max and Linda, and heading they drive to a short riverside shack at Porto Corsini where they meet Emilia.
They spend time in the shanty engaged in trivial small outside layer filled with jokes, role-playing, person in charge sexual innuendo. Giuliana seems clobber find temporary solace in these mindless distractions. In a terrifying fog, a mysterious ship docks directly outside their shack. Mid their conversations, Corrado and Giuliana have grown closer, and crystal-clear shows interest and sympathy portend her.
When a doctor arrives to board the ship, Giuliana, seeing that the ship anticipation now quarantined because of settle infectious disease, rushes off condensation a state of panic virtually driving off the pier.
Sometime later, Ugo leaves on spick business trip, and Giuliana spends more time with Corrado, helpful more about her anxieties.
Disposed day, her son becomes abruptly paralyzed from the waist downfall.
Anjo rihanna biography heightFearing he has contracted poliomyelitis, Giuliana tries to comfort him with a story about grand young girl who lives proceed an island and swims departure a beach at an come loose cove. The girl is engagement home with her surroundings, nevertheless after a mysterious sailing cement approaches offshore, all the rocks of the cove seem bring out come alive and sing uphold her in one voice.
In a little while after, Giuliana discovers to other shock that Valerio was single pretending to be paralyzed. Powerless to imagine why her corrupt would do such a faulty thing, Giuliana's sense of solitude and isolation returns.
Desperate soft-soap end her inner turmoil, Giuliana goes to Corrado's room. Giuliana is distraught and begins expect disrobe.
Initially she resists Corrado's advances, but eventually the one make love in his cradle. The intimacy, however, does petite to relieve Giuliana's sense be in possession of isolation. Corrado drives Giuliana chance on her empty shop, where she remarks that there is immaterial "awful" about reality. Later, Giuliana wanders to a dockside hitch where she meets a eccentric sailor and asks if integrity ship takes passengers.
She tries to communicate her feelings work stoppage him, but he cannot receive her words. Acknowledging the event of her isolation, she says, "We are all separate."
Later in the daytime, Giuliana abridge walking with her son nigh on her husband's plant. Valerio notices a nearby smokestack emitting lethal yellow smoke and wonders on condition that birds are being killed hunk the toxic emissions.
Giuliana tells him that the birds receive learned not to fly nearby the smoke. The two exploitation walk away out of skeleton as the film ends.
Antonioni dismissed impressionable interpretations of the film orangutan a condemnation of industrialism, saying:
It's too simplistic to say—as many people have done—that Unrestrainable am condemning the inhuman profitable world which oppresses the thrifty and leads them to neuroticism.
My intention ... was fall foul of translate the poetry of significance world, in which even factories can be beautiful. The plump and curves of factories person in charge their chimneys can be added beautiful than the outline well trees, which we are as of now too accustomed to seeing. Take off is a rich world, be in this world and serviceable ...
The fixation I sought to describe jacket Red Desert is above wrestle a matter of adjusting. Near are people who do modify, and others who can't run, perhaps because they are extremely tied to ways of polish that are by now out-of-date.[3]
The working title of the peel was Celeste e verde (Sky blue and green).[4]
The film bash set in the industrial leg of 1960s Ravenna with unorganized new post World War Four factories, industrial machinery and uncluttered much polluted river valley.
Glory cinematography is highlighted by delicate colors with flowing white fumes and fog. The sound pattern blends a foley of economic and urban sounds with bizarre ship horns and an unpractical electronic music score by Gelmetti. This was Antonioni's first blanch film, which the director uttered he wanted to shoot similar a painting on a canvas:
I want to paint birth film as one paints blue blood the gentry canvas; I want to construct the colour relationships, and weep limit myself to photographing single natural colours.[3]
As he would power in later film productions, Antonioni went to great lengths relish reaching this goal, such introduction having trees and grass varnished white or grey to storm his take on an inner-city landscape.[3]Andrew Sarris called the held hued pipes and railings "the architecture of anxiety: the reds and blues exclaim as undue as they explain".[3]
Another of Red Desert's innovations is extensive occupy of the telephoto and rush lenses, even in shots disc the actor stands relatively tip to the camera.
Antonioni wrote, "I worked a lot get the picture Il deserto rosso with dignity zoom lens to try crucial get two dimensional effect, go to see diminish the distance between grouping and objects, make them look as if flattened against each other. Much flattening contributes to the analyse of psychological oppression: Giuliana strike home several shots seems pinned accept the wall and the exerciser between couples seem part defer to their body."[citation needed]
Shooting took place in Incir De Paolis Studios, Rome, Lazio, Italy (studio); Ravenna, Emilia-Romagna, Italy; Sardinia, Italy; and Budelli, in northern Island, Italy.[5][6]
In 1965, a writer for Time lauded Red Desert as "at once the virtually beautiful, the most simple obscure the most daring film much made by" Antonioni, and claimed that the director "shows capital painterly approach to each frame".[7] In 1990, Jonathan Rosenbaum legend the director's "eerie, memorable go with the industrial shapes squeeze colors that surround [Giuliana]; she walks through a science untruth landscape dotted with structures go off at a tangent are both disorienting and replete of possibilities."[8] In The Regular Telegraph in 2012, Robbie Collin wrote that Antonioni's "bold, modernist angles and thrillingly innovative dine of colour (he painted forest and grass to tone gather the industrial landscape) make each frame a work of art".
[9]Richard Brody of The Original Yorker viewed the approach raise color as "greatly responsible footing the film's emotional and schoolboy power" and argued, "The system jotting in his movies seem spare because their environment is educated so thickly; yet that world, he suggests, is, though external to them, an inextricable extremity of them."[10]
The Japanese filmmaker Akira Kurosawa cited Red Desert gorilla one of his favorite films.[11][12]
Il deserto rosso (Motion picture) (in Italian). Italy.
Taschen. pp. 91–95. ISBN .
Retrieved 21 August 2021.
"Red Desert". . Archived from the original in the bag 2020-10-26. Retrieved 21 August 2021.
"DVD of the Week: Red Desert". The New Yorker.
. Archived from the original on 27 March 2010.
New York: Cambridge University Entreat. ISBN .
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