list http://www.spout.com/ Recent community activity around Red Desert on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Red_Desert/28433/default.aspx Title: Red Desert
Year: 1964
Director: Michelangelo Antonioni
Plot: Red Desert (Il Deserto Rosso) once more combines the considerable talents of director Michelangelo Antonioni and star Monica Vitti. Cast as Giuliana, an unhappy wife, Vitti suffers from an unnamed form of depression and malaise. Her quicksilver emotional shifts disturb everyone around her, but they, like she, pretend that nothing is truly wrong. British engineer Corrado Zeller (Richard Harris) seems to understand what Giuliana is really after in life, and he acts upon it by entering into an affair with the troubled woman. Giuliana eventually comes to terms with her physical and mental pain, but this hardly means that she's "cured" in the conventional sense. Monica Vitti's sense of isolation is heightened by Antonioni's (and cinematographer Carlo DiPalma's) choice of colors, and especially by Carlo Savina's bizarre electronic musical score. This is a landmark movie in Antonioni's effort to portray alienated individuals in contemporary life; he places people against towering forms of technology to emphasize their smallness and lostness in the modern world of technological change. ~ Hal Erickson, All Movie Guide
Number of Lists: 4
Number of blog posts: 2
Number of discussion threads: 1
SpoutRating: 3
]]>Tue, 25 Mar 2008 18:02:59 GMTRed Desert1964Michelangelo AntonioniRed Desert (Il Deserto Rosso) once more combines the considerable talents of director <a href="/players/P____79780/default.aspx" style='text-decoration:underline'>Michelangelo Antonioni</a> and star <a href="/players/P____73738/default.aspx" style='text-decoration:underline'>Monica Vitti</a>. Cast as Giuliana, an unhappy wife, Vitti suffers from an unnamed form of depression and malaise. Her quicksilver emotional shifts disturb everyone around her, but they, like she, pretend that nothing is truly wrong. British engineer Corrado Zeller (<a href="/players/P____93538/default.aspx" style='text-decoration:underline'>Richard Harris</a>) seems to understand what Giuliana is really after in life, and he acts upon it by entering into an affair with the troubled woman. Giuliana eventually comes to terms with her physical and mental pain, but this hardly means that she's "cured" in the conventional sense. <a href="/players/P____73738/default.aspx" style='text-decoration:underline'>Monica Vitti</a>'s sense of isolation is heightened by Antonioni's (and cinematographer Carlo DiPalma's) choice of colors, and especially by Carlo Savina's bizarre electronic musical score. This is a landmark movie in Antonioni's effort to portray alienated individuals in contemporary life; he places people against towering forms of technology to emphasize their smallness and lostness in the modern world of technological change. ~ Hal Erickson, All Movie Guide4213http://www.spout.com/ProductImages/t03562leufd.jpghttp://www.spout.com/films/Red_Desert/28433/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/3/25/26590.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/25/2008 2:02:59 PM
Body: Another season of MTV’s faux-reality melodrama and grade-A guilty pleasure The Hills debuted last night, and it was greeted by yet another New York Times review comparing its “plotlessness and dreamy cinematography” to the cinematic style of Michaelangelo Antonioni. As you know, I’m a big fan of cinema-conscious analyses of the Hills. But when the NYT’s Ginia Bellafonte calls The Hills (a highly manipulated soap opera about “real” people, produced for the consumption of young, female mass audience) “Antonioni-esque,” what does she actually mean? I carefully watched the season premiere this morning on MTV.com and came up with five areas where this tale of California blondes of the aughts converge with Antonioni’s mid-to-late century masterpieces of modern isolation. 1: Pressures of modern life and relationships lead to physical illness. When Lauren and Whitney arrive in Paris, their itinerary says they’re supposed to go to Colette to pick up shoes “for the girls,” and then pick up their own ballgowns at Alberti Ferretti. At Lauren’s urging, she and Whitney get the gowns first, and by the time they arrive at Colette, the store is closed. Without blaming her friend and co-worker with actual words (see Item 2), Whitney has a physical breakdown in the back seat of the car. “Ugh, I’m so nausous,” she says. “Deep breaths, deep breaths, deep breaths…” She then throws her head back and has some kind of minor seizure, involving much tongue flippage. Lauren looks on with eyes progressiely narrowed, as if to say, “What the fuck is your problem?” Antonioni film that this is JUST LIKE: Red Desert (above), in which the industrial city of Revenna is painted (literally––Antonioni took an extraordinary degree of control over the set design of his first color film) as a toxic wasteland, pushing Monica Vitti from run-of-the-mill ennui to a psychosomatic sickness that no one else understands. (more…) Originally posted on:SpoutBlog » karina
]]>Tue, 25 Mar 2008 18:02:59 GMTKarinaKarina on SpoutBlog3/25/2008 2:02:59 PM Another season of MTV’s faux-reality melodrama and grade-A guilty pleasure The Hills debuted last night, and it was greeted by yet another New York Times review comparing its “plotlessness and dreamy cinematography” to the cinematic style of Michaelangelo Antonioni. As you know, I’m a big fan of cinema-conscious analyses of the Hills. But when the NYT’s Ginia Bellafonte calls The Hills (a highly manipulated soap opera about “real” people, produced for the consumption of young, female mass audience) “Antonioni-esque,” what does she actually mean? I carefully watched the season premiere this morning on MTV.com and came up with five areas where this tale of California blondes of the aughts converge with Antonioni’s mid-to-late century masterpieces of modern isolation. 1: Pressures of modern life and relationships lead to physical illness. When Lauren and Whitney arrive in Paris, their itinerary says they’re supposed to go to Colette to pick up shoes “for the girls,” and then pick up their own ballgowns at Alberti Ferretti. At Lauren’s urging, she and Whitney get the gowns first, and by the time they arrive at Colette, the store is closed. Without blaming her friend and co-worker with actual words (see Item 2), Whitney has a physical breakdown in the back seat of the car. “Ugh, I’m so nausous,” she says. “Deep breaths, deep breaths, deep breaths…” She then throws her head back and has some kind of minor seizure, involving much tongue flippage. Lauren looks on with eyes progressiely narrowed, as if to say, “What the fuck is your problem?” Antonioni film that this is JUST LIKE: Red Desert (above), in which the industrial city of Revenna is painted (literally––Antonioni took an extraordinary degree of control over the set design of his first color film) as a toxic wasteland, pushing Monica Vitti from run-of-the-mill ennui to a psychosomatic sickness that no one else understands. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/25/26588.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/25/2008 2:01:20 PM
Body: Another season of MTV’s faux-reality melodrama and grade-A guilty pleasure The Hills debuted last night, and it was greeted by yet another New York Times review comparing its “plotlessness and dreamy cinematography” to the cinematic style of Michaelangelo Antonioni. As you know, I’m a big fan of cinema-conscious analyses of the Hills. But when the NYT’s Ginia Bellafonte calls The Hills (a highly manipulated soap opera about “real” people, produced for the consumption of young, female mass audience) “Antonioni-esque,” what does she actually mean? I carefully watched the season premiere this morning on MTV.com and came up with five areas where this tale of California blondes of the aughts converge with Antonioni’s mid-to-late century masterpieces of modern isolation. 1: Pressures of modern life and relationships lead to physical illness. When Lauren and Whitney arrive in Paris, their itinerary says they’re supposed to go to Colette to pick up shoes “for the girls,” and then pick up their own ballgowns at Alberti Ferretti. At Lauren’s urging, she and Whitney get the gowns first, and by the time they arrive at Colette, the store is closed. Without blaming her friend and co-worker with actual words (see Item 2), Whitney has a physical breakdown in the back seat of the car. “Ugh, I’m so nausous,” she says. “Deep breaths, deep breaths, deep breaths…” She then throws her head back and has some kind of minor seizure, involving much tongue flippage. Lauren looks on with eyes progressiely narrowed, as if to say, “What the fuck is your problem?” Antonioni film that this is JUST LIKE: Red Desert (above), in which the industrial city of Revenna is painted (literally––Antonioni took an extraordinary degree of control over the set design of his first color film) as a toxic wasteland, pushing Monica Vitti from run-of-the-mill ennui to a psychosomatic sickness that no one else understands. (more…) Originally posted on:SpoutBlog
]]>Tue, 25 Mar 2008 18:01:20 GMTSpoutBlogSpoutBlog on spout.com3/25/2008 2:01:20 PM Another season of MTV’s faux-reality melodrama and grade-A guilty pleasure The Hills debuted last night, and it was greeted by yet another New York Times review comparing its “plotlessness and dreamy cinematography” to the cinematic style of Michaelangelo Antonioni. As you know, I’m a big fan of cinema-conscious analyses of the Hills. But when the NYT’s Ginia Bellafonte calls The Hills (a highly manipulated soap opera about “real” people, produced for the consumption of young, female mass audience) “Antonioni-esque,” what does she actually mean? I carefully watched the season premiere this morning on MTV.com and came up with five areas where this tale of California blondes of the aughts converge with Antonioni’s mid-to-late century masterpieces of modern isolation. 1: Pressures of modern life and relationships lead to physical illness. When Lauren and Whitney arrive in Paris, their itinerary says they’re supposed to go to Colette to pick up shoes “for the girls,” and then pick up their own ballgowns at Alberti Ferretti. At Lauren’s urging, she and Whitney get the gowns first, and by the time they arrive at Colette, the store is closed. Without blaming her friend and co-worker with actual words (see Item 2), Whitney has a physical breakdown in the back seat of the car. “Ugh, I’m so nausous,” she says. “Deep breaths, deep breaths, deep breaths…” She then throws her head back and has some kind of minor seizure, involving much tongue flippage. Lauren looks on with eyes progressiely narrowed, as if to say, “What the fuck is your problem?” Antonioni film that this is JUST LIKE: Red Desert (above), in which the industrial city of Revenna is painted (literally––Antonioni took an extraordinary degree of control over the set design of his first color film) as a toxic wasteland, pushing Monica Vitti from run-of-the-mill ennui to a psychosomatic sickness that no one else understands. (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/Graphic_Desire/Re_Color_in_film/133/6876/1/ShowPost.aspx Post By: vidiocy
Post To: Graphic Desire
Post Date: 4/10/2007 4:14:16 PM
Body: I read a great book in film school called "Cinema and Painting", which explored the influence of 20th century fine art on filmmakers mid-century filmmakers. The chapter on Red Desert is responsible for my life-long obsession with Antonioni. Definitely a must-read for anyone thinking about composition. There's more info here.
]]>Tue, 10 Apr 2007 20:14:16 GMTvidiocyGraphic Desire4/10/2007 4:14:16 PMI read a great book in film school called "Cinema and Painting", which explored the influence of 20th century fine art on filmmakers mid-century filmmakers. The chapter on Red Desert is responsible for my life-long obsession with Antonioni. Definitely a must-read for anyone thinking about composition. There&#39;s more info here. http://www.spout.com/members/0/tags/marriage/MemberTagFilms.aspxmarriage
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