Sonnenfinsternis

It only takes a few films to become familiar with the methodic ways of Michelangelo Antonioni. Themes of alienation, disconnection, romance without the romance and dealing with an ambiguous existential way of life. It's fascinating but challenging. I came into L'Eclisse wanting to love it because I love L'Avventura and Blowup but deliberately hard to connect to. We're thrown into a vague but disheartening scenario with depressed characters and just have to follow down that road. It has rich cinematography that has beautiful composition, but an gut- sinking emptiness. It's almost too precise and too self-aware. But that's the beauty of the film, its aesthetic is not supposed to be pleasing, even though artistically it should be. In fact, it's painful. Painful to watch the busiest life of the film being at the stock market while the rest of nature is desolate yet so picturesque. Machines and technology are prominent throughout the film and often physically get in the way of human relationships. The film is a profound and quietly poignant statement on human desires and insecurities, if a little held back by a touch of pretence and too cold for its own good.

8/10

While The Eclipse is one of the most superbly directed films I may have ever seen, on a first impression it was (obviously) a lot to take in all at once. As with his other films, L'Eclisse isn't for everyone. But Antonioni distinguishes himself here as a great artist of the medium by not only creating the kinds of compositions (lensed by Gianni De Venanzo, who worked with Antonioni on Il Grido and La Notte as well as the WW2 documentary Days of Glory and Fellini's 8 1/2) no one could ever justifiably imitate correctly, but creating a depth to the substance. On one hand one aspect of L'Eclisse that's appealing is how it balances out the style and substance (though the style is arguably the more distinguishable and greater than the two). On the other another aspect is that it could put off viewers not terribly familiar with Antonioni's psychology (which, like Scorsese for example, is at least consistent and engaging with the rest of the director's catalog of work). How intently he gets inside Vittoria's head, and at the same time maintains a detachment despite the varying emotional contexts, is extraordinary, if highly personal.

Like Vittoria, Antonioni does something that's fascinating throughout the film - though one doesn't know what it is exactly that holds Vittoria, and for that matter Piero, in their respective attitudes, one doesn't feel quite left out of anything heart-stopping for the story/character's sake. The film lets us in just enough as to no keep us curious, and it also doesn't keep itself in a depressive tone, as it is realistic to how the people in this city exist. In fact, there's another facet to L'Eclisse which especially worked for me - the poetry that slips itself in small doses amid the visual sweep. Whether it be one of the long takes, an elongated view on a building or street-light, or on Vitty as Vittoria, it's in the observation that subtext forms. This is the kind of motion picture that a shot-by-shot analysis would serve like would a Picasso or Chagal.

And as a plus to the film's success are the actors turns - Monica Vitti is the only actress from that period and country I can think of who could've pulled off what Antonioni wanted in Vittoria. Her face, after being in front of us minute after minute, becomes familiar despite her inner-angst. She knows what Vittoria's fears and loss of vitality means for the story. She's not a person without a laugh or smile ever, yet those emotions arrive only after the known mood is peeled away like a layer of skin. "To love I think one shouldn't know the other," she says, almost arbitrarily. "But then, maybe one shouldn't love at all." Is this Antonioni hitting the hammer on the head, or is it just one of those kinds of comments a woman like her would make? As in L'Avventura, there is the mystery around the female lead. Is love beyond her reach we might wonder, or has the idea of it vanished under false pretense? Alain Deleon also deserves credit for his Piero, as he counters her quiet, more fogged demeanor as a stockbroker in Rome. That under current to the story - the major bustle and noise of the gamblers in the stockbroker's hall - is also part of the contrast, to the stretches with minimal dialog and sound.

The last act, which regards Vittoria's relationship to Piero (a time after he empty break-up with her past lover Rodrigo) culminates in an astonishing feat of storytelling and film-art. As it becomes all the more evident neither one will arrive at a certain (usually) desolate cross-road corner to meet up, the idea of an eclipse over these people and places is hypnotic, unique. For its time it must've been quite a stroke by a director, and forty or so years later the whole sequence leaves its effect in due. Haunting formations beneath and surrounded by the sky and clouds, and it's a bit intellectually loaded. There can be any interpretation for this climax (or as one could claim an anti-climax) that isn't manipulated by Antonioni. The sequence, as with the rest of the film, asks only to see the world based on how one would think it can, or will, be seen. And it fits memorably, like bedroom slippers, into the prime of Antonioni's career as an auteur.

Among the three films in Antonioni's films from this period of his career (1960-1962), this is the one I'd recommend the highest. The Eclipse is also the kind that's nearly mandatory to see more than once if sincerely interested in checking out at all (in other words, don't watch it with pre-conceived notions of this being a dramatic love story with solid conventions to it).

The Eclipse denotes Michelangelo Antonioni 's flawless taste,and his powerful,virile instinct for strong compositions;this elegant and suave movie is one of the cinema's best pieces of poetry (I must also confess that I prefer this early,younger,"black and white" and peninsular Michelangelo Antonioni;he was 50 years when he made L'ECLISSE).Before he approached the '60s counterculture,Antonioni made a few strong movies not only for the intellectuals but also about intellectuals.

This one is an incredibly rich movie,a movie about many things:about solitude,financial pawns,a woman's indefinite aspirations,the vibrating city beauty,and the heart's resilience,the woman soul's density,the urban aesthetic;and also about:greed,people that search gropingly .Little wheels in the gearing of the stock exchange;the stock exchange's crushing machine.Antonioni is caustic and sober.His theme,the human monad,is inexhaustible.The naturalness,the charm,the intensity,the integrity,the width of this film must be mentioned.Antonioni proved that,for his cinema,experiments are always ways and means,while the most intense poetry is the aim.(Each great director is an experimenter;all great directors are experimenters,only to be better poets.)

Antonioni is one of the three directors who,according to Averty,never made a bad movie (and Antonioni's creation was,for almost two decades, quite abundant;it is only after Blowup (1966) that he went slow,making some seven movies in so many decades).His movies don't have a "sockdolager",that's part of what makes them so good and endearing.Experimenting in countless ways,Antonioni never forgot to be a poet,and never failed.His aesthetic aim has a side of ingenuity and directness that enchants in an unfailing way.

And what is Antonioni's poetry?It is this compact texture,this density of the people and of the life,the striking immediacy.It is amazing also how Antonioni put all of himself in this beautiful movie,The Eclipse.

Like a few others,The Eclipse is one of the movies that give us the taste of what cinema can be.

In the suburb of Rome, the translator Vittoria (Monica Vitti) breaks her engagement with her boyfriend, the writer Ricardo (Francisco Rabal), after a troubled night. Vittoria goes to downtown to meet her mother (Lilla Brignone), who is addicted in Stock Market, and she meets the broker Piero (Alain Delon) in a day of crash in the Stock Market. The materialist Piero and the absent Vittoria begins a monosyllabic relationship.

"L'Eclisse" is a love story in the world of Michelangelo Antoniani, where the lack of communication, emptiness and loneliness in the big city prevails over the human feelings. The first ten or fifteen minutes with Vittoria and Riccardo alone in his apartment, practically without any words (actually very few words are spoken), is amazing, showing a couple whose love and relationship is completely exhausted. The scenes in the Stock Market of Rome are also very impressive. Monica Vitti, the favorite actress of Antonioni, shows a stunning beauty and her alienation of feelings is expressed by her face and few words along the story. My vote is seven.

Title (Brazil): "O Eclipse" ("The Eclipse")

Antonioni's 'L'Eclisse' depicts the emptiness and and meaningless of life in the post-Second World War world under the shadow of the nuclear threat. This is represented by the mushroom shaped water-tower looming outside the window in the film's early sequences, and is referred to again in newspaper headlines towards the end of the film. This film was made in 1962, a year after the Berlin crisis, and in the year of the Cuba crisis when we came very close to nuclear war between the USA and the USSR.

The film also depicts the greed of capitalism, as shown in the mad, chaotic scenes in the Rome Stock Exchange and the obsessive gambling of the mother character.

The location, with distant shots of Benito Mussolini's EUR buildings on the outskirts of Rome, also suggest a meaningless, empty, soulless Brave New World all overshadowed by the nuclear threat, where people suffer loneliness and depression and feel unable to make long-term commitments.