Identificazione di una donna

Antonioni's "The Passenger" is probably my favorite film. It's a singular work which manages to have the highest philosophical ambitions without seeming the least pretentious. That's not to say that Antonioni never seems pretentious. He sometimes is very much so, and this is a case in point. I wouldn't describe this as a good movie exactly- it's a bit too self-absorbed, with some lousy dialog and a howlingly funny leading man, who seems like an SNL parody of an Italian leading man. But having said that, it's still vintage Antonioni, and he was a master. For every moment that makes a fan wince, there are others of exceptional compositional beauty: street scenes in which "extras" take on inarticulable metaphysical weight, moments, such as a scene where the protagonist is lost in fog, that seem to depict the invisible. The theme of the film could seem misogynistic, and in a way it is. But really, this film is about the unknowability of the Other, and the way that black hole nonetheless illuminates Being.

This is probably obvious, but if you don't like Antonioni, stay away from Identification of a Woman. If you've never seen another, check out one of these films first: L'Avventura, La Notte, L'Eclisse, Red Desert, Blowup, The Passenger, or Zabriskie Point. If you are a fan of Antonioni, like myself, please do check out this film. It is definitely one of Antonioni's weaker films, but it is still undeniably in his style and containing his regular themes. This one is about a film director who can be said to fall in love with a woman (who, incidentally, looks a lot like a very young and extraordinarily thin version of Monica Vitti), but he can't express that love. The woman is upset at this and disappears. In some ways, this is like a weaker version of L'Avventura. The man tries to get on with his life, begins dating again, but eventually realizes that his mind revolves around the girl who abandoned him. This film is disappointing, especially if you're in love with Antonioni the director. The direction is generally flat. Only a few scenes show his supreme visual style. 6/10.

It is easy to see why Michaelangelo Antonioni is a divisive director. Personally appreciate him (if not love) highly and love a fair few of his films, his directing style is unique, his themes are fascinating and there are many transfixing moments in his films (some amazing final shots and unforgettable endings for instance). His style and some of his films understandably perplex and alienate others, will admit to not liking all of his films and do feel that a few of his films do have what he can be criticised for.

'L'avventura', 'L'Eclisse', 'The Passenger', 'Le Amiche' and 'La Notte' are examples of great and more Antonioni films, while 'Blow Up' and especially 'Zabriskie Point' left me indifferent. Then there are Antonioni films that fall somewhere in between and not always easy to review. 'Identification of a Woman' is one of those films, though found more good with the film than bad and it is one of those films that was much better on re-watch. Very like 'Red Desert'. There is an awful lot to admire and what is so good about Antonioni's best work is here, generally though for me it's lesser Antonioni and just wanted to be gripped by and connected to it more.

As always with Antonioni, 'Identification of a Woman' is superbly made on a visual level. Have nothing to complain about in regard to the gorgeously vivid cinematography and atmospheric production design with some of the most effective use of fog on film. The music doesn't intrude and in style and utilisation it complements, if not enhances, rather than clashes. The writing is thought-provoking and doesn't ramble.

Did find myself connecting to 'Identification of a Woman' emotionally, even if not fully engaging with it. The film has moments of knowing irony and just as many of genuine poignancy, so certainly was not left cold. The actors passionately engage with their material while providing expressive nuance, there isn't anybody truly mind-blowing (i.e. Monica Vitti in all her Antonioni work) but at least there aren't miscasts (Richard Harris in 'Red Desert') or amateurish leads ('Zabriskie Point').

However, while there isn't any self-indulgence or heavy-handedness, Antonioni's direction doesn't seem as fully committed as it usually is and it comes over as a bit tired. While the story does have emotional investment and is more coherent than the storytelling in 'Blow Up' and 'Zabriskie Point', the ambiguity is still taken too far and there is a lack of clarity.

The themes here have been handled with much more development and freshness in other Antonioni films and the character and relationship development is vague and veering on shallow. Do not mind that there was ambiguity, didn't care though that it felt like there was too much. Pacing is an issue, with the film tending to badly sag in momentum that it becomes sluggish, a problem when some of the story is quite slight.

Overall, above average with many impressive things but somewhere in between by Antonioni standards. 6/10 Bethany Cox

Antonioni's last film prior to his suffering a stroke is this very typical effort (co-written with Gerard Brach and Tonino Guerra), dealing with a number of key themes that run through his work – lack of communication, the mystery-as-journey-of-self-discovery, etc. That said, the film wasn't picked up for U.S. release until 1996 and is consequently perhaps the least-seen of Antonioni's films from his post-AVVENTURA phase!

Anyway, the mystery element links the film with the director's earlier BLOW UP (1966) and THE PASSENGER (1975); still, it's never as intriguing here as in those more celebrated titles (especially since, for once, it's explained away at the end!)…but, as I said, the film eventually emerges to be more about the mid-life crisis of its central character (despite the title). Interestingly, he's a film director – though "Euro-Cult" favorite Tomas Milian feels as incongruous to Antonioni's cinema as Marcello Mastroianni's presence had been in LA NOTTE (1961)! He has an obsessive relationship with a young woman (even enjoying some LAST TANGO IN Paris [1972]-type sex scenes!) who eventually leaves him and disappears (shades also of L'AVVENTURA [1960]); while searching for her, he meets a variety of other willing girls (among them Antonioni's own future wife Enrica Fico). Marcel Bozzuffi appears in one brief, irrelevant scene as Milian's brother.

Overall, the film is tiresomely long and often mirrors the tedium experienced by the characters; the ending, however, is a beauty – suggesting that, even if he's a failure at love, a film director is still left with his imagination. Carlo Di Palma's cinematography is notable, too – particularly at the Venice location (where, coincidentally, I saw the Antonionis three years ago!) and during the tense fog-bound sequence; the film's score, then, is a mix of electronic, ambient and pop – and all very much of its period. As was the case with THE PASSENGER, THE MYSTERY OF OBERWALD (which is now one of only two features by the director I've yet to catch up with!) and BEYOND THE CLOUDS (1995), Antonioni had a hand in the editing of the film; here, he receives sole credit for this and the result makes especially effective use of ellipses (the factors of time and space had always been a primary concern in his work – thus making the apparently mocking recourse to science-fiction at the end anything but coincidental!).

Possibly the most atmospheric film I ever seen, it made a huge impact when I first saw it, and that opinion has never changed. If there is one film that conveys the mystery of life this is it. It is also a highly evocative picture of Italy from the perspective of the upper middle classes in the late Seventies. Crying out for a DVD release as the photography was excellent too on the original film showings.