Chronique d'un amour

To date, there are 13 reviews of this film. Perhaps all the writers saw this movie theatrically. I have the Bo-ying version of USA'a NoShame DVD, and, to say the least, it certainly ranks as the most extraordinary DVD I've ever seen in my life! Presumably, as the original negative was destroyed in a fire in 1989, this DVD has been reconstructed from bits and pieces of the original Italian version and the dubbed English-language version, and then re-sub-titled. A huge effort has been made to make the LOOK of the film consistent -- even when the version used changes -- which it OFTEN does -- right in the middle of a scene! And would you believe that -- with this direct comparison facing us every couple of minutes -- the English-language version is actually superior to the original Italian. The acting is superior and even the syncing is better. (As most of you know, all Italian films are post-dubbed -- and not necessarily by the original actors). But that's not the end of the matter. The sub-titles we see with our eyes often don't fully agree with what we hear with our ears. In at least two cases, the sub-titles (presumably based on the Italian version) are the exact opposite to what we actually hear! And many of the titles also carry extra (rather than less) information. As for the movie itself, I loved it! Beautifully photographed, exquisitely acted, and most engagingly directed. Until now, I was not an Antonioni fan. But anyone who loves streetcars is a friend forever. And there are more streetcars in "Story of a Love Affair" than in any other movie I can think of, except Bunuel's wonderful 1953 homage, "Illusion Travels by Streetcar".

A rich older man's belated desire to investigate his beautiful wilful young wife' mysterious past reignites old passions with tragic consequences. For those viewers who are uncertain of Antonioni's capacity to make enjoyably great films, this may be a revelation especially if you have a penchant for post-WW2 film noir with its attendant malaise and melancholia. With suitable B&W photography and accompanying musical score and boasting one of the screen's great beauties, Lucia Bose, in her prime, this film is a masterpiece.

The feature film debut of future Italian cinema star Michelangelo Antonioni is quite conventional and straightforward as compared to his later works, which are generally regarded as masterpieces. Though not in that category, this film ranks as a very well-made melodrama that dares to also include exploration of the darkest of human desires, specifically within the context of marriage and fidelity.

Chance also plays a large role here, helping to reunite former lovers who pick up where they left off, ironically thanks to the woman's husband hiring a private detective to follow her as he suspects she is having an affair. What follows is often high-strung, dense and very moving as Antonioni shows us the most desolate shots of the beautiful city Milan. Many of the establishing shots are long shots of corridors, streets and other walkways that create great sense of alienation, isolation and illicit activities. The ending may require a bit of explaining but still fits the overall tone of elegy and bitter sadness. A powerful and moving Italian melodrama that certainly could be used as a template for American filmmakers today.

This is Antonioni's first feature. Released in 1950, it seems to me both a harbinger of the auturer's mature style while also being a semi- remake, semi- rebuke of Double Indemnity., from only a few years prior. .

There is an extraordinary shot in this film, pure Antonioni, when the lovers meet on a bridge. The view is 360 degrees, we're not sympathizing with one lover more than the other. As the camera moves around its axis, our focus goes much beyond our traditionally intended targets as ship workers in the distance cohabitate the deepest focus with the characters we are following, who bicker over the merits of violating social morality.

If Double Indemnity is fatalistic, this work is nihilistic. If traditional Noir-narrative leads to certain doom, this story leads to only one finality, and that is the randomness and chaos of life, death and love. In that way, this work reminded me most of Woody Allen's late- career "thrillers"-Match Point and Cassandra's Dream.

"Cronaca di un amore" was Antonioni's first full-length film. It's a romantic film noir, full of passion, but very far from the Hollywood saccharine romanticism.

It begins almost as a police film: an investigation is being led about Paola Molon. A detective is walking around, asking questions about her.

Seven years ago, Paola (Lucia Bosé) was in love with Guido (Massimo Girotti). Guido was engaged to Paola's best female friend, but there was already love between Guido and Paola. Still, one day a tragic accident happens. And this accident will tear Guido and Paola apart. And now this investigation will reunite them again. Their love is rekindled.

Paola is now married to a wealthy entrepreneur, lives in a mansion, has servants, a car with chauffeur etc.., but Guido' life has been a constant struggle to make ends meet. (Remember that we are in 1950, some years after the end of the war, and Italy was still far away from her economic boom).....

"Cronaca di un amore" shows already Antonioni as an accomplished master. His eye for small details be it in interior or exterior scenes, his ability in directing actors, his sensitive use of land and cityscape - all these qualities are displayed in full force in the film.

Lucia Bosé is an outstanding actress - she is able to portray intense and contradictory emotions just by her facial expressions. Her acting is subtle and powerful. She's a real diva. Giovanni Fusco's soundtrack is a perfect companion to Antonioni's images.

"Cronaca di un amore" is a very beautiful film.