Identification d'une femme

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.

A very beautiful film with that special Antonioni atmosphere. I can identify with the feeling of emptiness and the people who can´t really communicate with each other. Modern life and adulthood seems shallow and a bit soulless. You have to fill it with something and make it human again.

The first time I saw it I was disapointed but it improved greatly with the second viewing and I want to see it again. There are new things to discover each time as with all of Antonionis´ films.

This feels a little bit like "Antonioni For Dummies". Although there are some mysteries and ambiguities, for the most part it's rather plainly laid out and not as enigmatic as his more highly-regarded works. Which isn't to say it's a bad movie. It drags quite a bit, but there are some intriguing parts. The highlight is the fog-shrouded centerpiece of the film... a rather blunt metaphor, but still eerie and compelling. The ending is also a treat. The cinematography by Carlo Di Palma is excellent, perhaps even surpassing his work on RED DESERT. And the soundtrack, though it will probably sound dated to most, is full of stuff I like -- OMD, Tangerine Dream, Steve Hillage. Overall, the film is engaging, but only intermittently so. The first half is more rewarding with all its paranoia... things fizzle out more in the second part.

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 "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.