This is widely touted as a complete masterpiece, the magnum opus of one of the only directors to completely marry art with composition, art movement with theme, completely, in every single shot and movement.
GASP.
It's a 10.
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But not all people who discuss the film flock to IMDb.
I completed two general film courses, and in both, L'Eclisse was required for viewing, and was heavily deconstructed post-viewing. The film was also on the syllabi of several technical film classes, I imagine for its photographic perfection.
Not all people who watch films automatically travel to IMDb to vote for films or discuss films.
Quite honestly, I cold use some help with it. I just finished watching it, and I feel I should have seen it as part of a course.
shareIt's a difficult film to talk about. The plot and the dialogues are too subtle, all its power is hidden in visionary style and most people have nothing to say about it, you really have to know something about fine arts to discuss such matters.
shareI do know something about fine arts, and I still have little to say about it, probably because it requires a close analysis of every scene and every shot. I'm not entirely incapable of doing that, but outside of a course I have no incentive to. I don't own the film anyway, I merely rented it, so it is no longer available to me for such an analysis.
It's always difficult to tell the difference, when somebody says they have little to say about a work of art because it is too referential and complex to talk about, whether they are holding their fire or just being insufferably pretentious. In any case, nobody should be embarrassed in any way for feeling a bit at sea with a film which makes so few concessions to classic narrative.
I have a graduate degree in Performance Studies, and I'm not embarrassed one bit over my response to the movie. Nobody should scoff at a film just because he doesn't feel he "gets" it, but nobody should be made to feel like an idiot over it either.
It's a 10 indeed, my friend. No doubt about it.
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-You won't forget me now?share
-No. I've got nobody else to remember.
If you want to read people talking about L'Eclisse, one way is to google L'Eclisse analysis, and there are several discussions of it. I would say the one I have read that is most comprehensive, if a bit over the top, is by David Saul Rosenthal, dating from 2007. His main page currently is encumbered by a dark screen, but you can go to chapter one and read it through from the links at the bottom of each page, wiht digressions within the text:
http://www.davidsaulrosenfeld.com/chapter1.html
Trust me, Mr. Rosenthal has plenty to say about this film, using almost a frame by frame analysis of it. If there is something I find lacking in it, his frame of reference is so much on the auteur aspect, from the director's point of view, that he doesn't spend as much on the performances of the actors as he might. Not that he does not in particular discuss Monica Vitti's spectacular performance here, but perhaps not as much as I might have. I of course also find Alain Delon exceptional here, as is really the entire supporting cast.
One of Rosenthal's most helpful observations might seem obvious to repeat viewers and great fans of L'Eclisse, and one he makes up front. But it is how not only is their a circular element to the narrative, but how the film begins with its end, or rather an end of a period of Vittoria's life, with the end of the film itself something entirely different.
A discussion by Gilberto Perez on the Criterion Collection's page about L'Eclisse, albeit much shorter, helps fill in the element of synergy between Antonioni and Vitti, especially in the visuals.
To finish this post and ftr I am always up for discussing this great film, even its fans must recognize taht one's own mood can greatly affect the exprience of viewing it. At times I just want to experience it almost in a state of pure subjectivity, having it wash over me, as if I am literally present within the events and spaces contained in the film. Other times I see it through a lens of sorts remarking on the specifics contained within it as part of the film, including of course identifying the kinds of conscious choices apparently made in making the film, the kind of things Rosenthal points out. And other times even a huge fan of it can question whether certain directorial choices were really all that close to perfection, such as how much time was spent on the trading floor the day the market fell so much, but that is a minor quibble, really. I only make it to point out I can understand why not everyone would love this film, at least on first viewing, when its depth is not immediately apparent. Another example is one might feel Piero's impatience with Vittoria as well as he seems to be, but eventually one realizes that is an intended effect, and part of what makes the film so compelling.
Yes, it is not only a ten by IMDb standards, but one of the most significant films ever made.
Sounds interesting, thank you very much for letting me know. I will definitely check it out.
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-You won't forget me now?share
-No. I've got nobody else to remember.
But there are no robots, no dinosaurs and no genetically mutated australian anti-heroes.
Later that day, after tea... I died, suddenly.
it's not a movie you'll easily find, only the true buffs will dig it up
so many movies, so little time
I did not see a masterpiece. I saw a beautiful woman walking around acting weird everyday. The opening scene was annoying and interesting but mostly annoying. Ricardo was super annoying. I was happy when they were rid of each other.
I love modern art but the story leaves too much to be assumed for it to be called a masterpiece so casually. I personally enjoyed the film for its uniqueness. I love the Monica Vitti's style. She is very cool. But it is not a film in the sense of telling a coherent story. It throw images and scenes around and you have to guess what it all means. That is art. This movie is abstract art. I consider it more art than film.
I am sure there are movie buffs that can breakdown what this or that means and I am thankful for them. I learn much. However, In watching this movie, all I can find is myself wondering what Monica Vitti is going to do/say next and wondering if I would be able to predict any of it. I could not. (Who had her dancing in blackface? The same woman hanging at the Stock market...really?)
What I did notice was that she changes emotions rather fluidly and quickly although maintaining the same pace and rhythm of character. Normal people do not act like this. I find this extremely interesting as far as an actor/actress is concerned.
The adjective Masterpiece is should be explained by anyone who says it.