Copyright © 2011 by James Clark
Complainers tend to be a bore, and complainers about their emotional states seldom come close to the level of fascination. This is an intuition that has consigned the films of Michelangelo Antonioni’s prime to a precarious stature. Particularly as sustained by his go-to exponent of nausea, the actress, Monica Vitti, Antonioni has made difficult headway in enunciating a bind that, in the casino of movie production, has moved him to commit all his chips. Was this a mistake, or what?
In view of the demonstrable fact that that plunge has galvanized a goodly portion of subsequent film production, we have to recognize that, at the very least, it spotlights a consequential addiction. There has, of course, always been historical friction; but that conflict has, until quite recently, always implied a fraternal disorder, allowing of an ultimate resolution, such an upbeat approach to conscious interaction being the essence of that rationality defining civilization as universally understood. (more…)