Michelangelo Antonioni-L'Avventura (1960) **REUPLOAD*REPOST**

A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. Sandro, Anna's boyfriend, and Claudia, Anna's friend, try without success to find her. While looking for the missing friend, Claudia and Sandro develop an attraction for each other. When they get back to land, they continue the search with no success. Sandro and Claudia proceed to become lovers, and all but forget about the missing Anna. (http://www.imdb.com/title/tt0053619/plotsummary)


Considered by many to be his masterpiece, L’Avventura positioned Michelangelo Antonioni as an international talent. What appears to be a search for a missing person is actually an examination of alienation and self-discovery found along a voyage through the morally decadent world of the idle rich. Less concerned with a smooth plotline, Antonioni tells his story through the use of symbolic images and flawless character development. Using 'real time’ camera shots and rich, landscape imagery, Michelangelo Antonioni creates an unpredictable world where nothing is ever resolved. Ironically, what makes L’Avventura so unpredictable is the high level of realism portrayed by each character and their environments. This isn’t your packaged, formulaic film with a happy ending. A tough one to watch but well worth it...and it gets better and better with repeat viewings. L’Avventura is quintessential Antonioini. Not to be missed. --Rob Bracco (www.amazon.com)


Antonioni's first international success is a subtle masterpiece focusing on the disappearance of an unhappy woman on an island and her friends' subsequent search. This is one of my favorite films of all-time. The composition and camerawork is aesthetically perfect; every frame is beautiful. The film's subtle psychological exploration is masterful, dealing with isolation and the protagonist's passive lifestyle forced to change under new circumstances. The sparse score perfectly fits the mysterious tone of the picture. Monica Vitti is nothing short of magnificent in the lead role. Constricting and excess plot details have been cut away, and the pace is slowed to allow the viewer to take in the wonderful images and actually think about the meanings and ideas contained within them. For viewers seeking serious, artful, intelligent, subtle, visually-stunning 'pure' cinema, this is the epitome. (http://www.imdb.com/title/tt0053619/usercomments)


There's also the haunting feeling of the film, as Anna's friends begin, almost immediately to forget about her. Soon, they don't seem to care a jot about her, and neither, in a sense, do we. It's this feeling of loose ends and guilt on our part(for joining her so called 'friends' in forgetting about her so quickly) that leaves the deepest impression. The characters in this film are so morally shallow(the ending bears this out) yet they are the reason this film leaves such a strong impression on those who watch it, and who become captivated by it. (http://www.imdb.com/title/tt0053619/usercomments)



The script to this film, as well as anything else about it, is absolutely ingenious. To simplify things, let us say that the first plot point in the film is Anna's disappearance. This is the initial problem that the characters have to deal with. In a film made under the classical guidelines, this would have been the goal that would have to be solved by the end of the film. But as L'Avventura advances, the script allows us, or maybe even makes us, forget about Anna. This process is very gradual (and she never completely disappears from our minds, especially since Claudia mentions her so explicitly near the end), but it begins very quickly after she disappears, with the infamous kiss between Sandro and Claudia. There are miles of interpretation and discussion left to go, but it is unneccessary to continue here. This is just a beginning. (http://www.imdb.com/title/tt0053619/usercomments)



Young woman (Lea Massari) suddenly disappears during a boating trip on an inhabited island. Shortly afterward, her boyfriend (Gabriele Ferzetti) and her best friend (Monica Vitti) became attracted to each other. However, don't expect the mystery. This is a study of emotional isolation, moral decay, lack of the communication and emptiness of rich people in contemporary (then) society. You can easily be bored by the slow pace and the lack of dramatics of this movie unless you capture its true purpose. This is "state of mind" or experience film rather than conventional plot film. Antonioni practically discovered the new movie language in L'Avventura. By using formal instruments he is expressing emotions of the characters (loneliness, boredom, emptiness and emotional detachment) and the viewer is forced rather to feel this same emotions himself than to be involved in the story and its events. These formal instruments are: slow rhythm, real-time events, long takes, visual metaphors like inhabited island(s), fog, extreme long shots (small characters in panorama) and putting protagonists on inhabited streets or large buildings and landscapes. (http://www.imdb.com/title/tt0053619/usercomments)



No film is more pure in the cinematic sense than L' AVVENTURA. L' AVVENTURA is nothing like you've seen. It may be more than 40 years old and it still feels amazingly modern and refreshing. The first time I saw it when I was 18, I hated it ... it was so slow and dull and it was impossible to relate to any of the characters. But 15 years later, I came across the DVD and the picture of Monica Vitti with the "pyramid" in the backround evoked a very strangely powerful wave of images, sounds, and words. So I decided to give the film another chance. It was too beautiful and hypnotic that I couldn't stir for nearly 2.1/2 hours. After I got up from the couch, the world never looked the same again. I woke up the following morning feeling like a new person. I think the most perfect time to watch the film is around midnight when everything is quiet and dark. Turn off your phones and lock the doors. Turn off the lights and close the curtains. Push the "play" button and then the film will transport you to a totally new world that will haunt you eternally. But I think the film will work even more powerfully and beautifully if you wait for a week or two and watch it again. Most people I know "clicked" with the film during their second or third viewing. If you find yourself puzzled or even disappointed when L' AVVENTURA ends, that's okay. Don't give up. Wait for a few more weeks or even a year; then view the film again. You won't regret it; I can promise you that. The audio commentary by Gene Youngblood is magnificent. Make sure to listen to it. L' AVVENTURA is not called the landmark film for nothing. The Criterion Collection's treatment of the film is perfect - just like the film. (www.amazon.com)


Reviews might not be helpful, since the film (which is the anthem of Antonioni's cinema) leads others to own opinion. Its amazingly complex, its spiritual and psychological. L'Avventura is not for every one, but once watching it some viewers will be left captivated by Antonioni cinema... (http://www.imdb.com/title/tt0053619/usercomments)


This is film as novel, and requires your undivided attention. There's a lot going, sublte characterization, frame composition thats integral to the story. Antonioni is always in complete control, nothing happens and noone speaks without a reason. An epic film about communication and the vain pursuit of happiness... Everything you think you know about film, you can toss out the window. Antonioni redefines the artform as only Bergman, Tarkovsky, and Kurosawa have done... (http://www.imdb.com/title/tt0053619/usercomments)






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