There is a (ever-dwindling) list of movies even I am shocked that I haven’t seen, as someone who is (relatively) serious about film. Until the other day, L’avventura was on it. I love, loooooove Antonioni’s work, particularly his work with the amazing Monica Vitti, but this had somehow slipped by me. Never again! I’m starting to learn that some things are standards because they are, indeed, awesome.
The film, shot seemingly entirely from behind Monica Vitti, is pretty clearly delineated into two halves. In the first half, Anna (Lea Massari) and her BFF Claudia (Vitti) go on a boat trip with Anna’s boyfriend Sandro (Gabriele Ferzetti), and some of his questionable rich friends. Anna spends most of the time in the midst of an existential panic, and, after fighting with Sandro, disappears off the face of a tiny island. Claudia and Sandro spend all their time looking for Anna; for a few days, at least. In the second half, which takes place only a few days after the incident, they seem to have forgotten Anna altogether, and are embarking on an affair of their own. Claudia is torn between passion and guilt, between lust and reason, between right and wrong. Anna is barely mentioned in the second half of the film, and the mystery goes completely unsolved.
There’s an eerie 3 Women quality to the film (I know this predates the Altman considerably, but go with me here). In some of the final moments before she goes missing, Anna gives Claudia one of her blouses that she no longer wants; when Anna’s father shows up at the island after her disappearance, Claudia is wearing the shirt, which clearly freaks him out. Claudia’s relationship with Sandro seems to go into borderline-obsessive territory. Although we never saw what either woman was like before the events of the film started, they both took a half-obsessive, half-disdainful stance to being Sandro’s lover. For his part, he’s basically a scumbag. At first he’s concerned with Anna’s disappearance, then he’s not (Claudia seems to be the only one who remembers her, and even then, only vaguely), and while at first he begs Claudia for her love, once she gives it to him, he becomes markedly less interested. It’s as if Sandro is the bridge between these two women.
A few visual techniques really stood out for me in the film. As I mentioned above, it seems that during most of the film (particularly the first half), the camera is pointed at the characters’ backs. I love this! It’s really amazing; the audience gets to join Claudia and Sandro in their search for Anna, we get to see the hopelessness of actually finding the woman, and the vast stretches of nature that expand out in front of the characters. One of my favorite Antonioni visual tropes is the “small humans vs. vast nature” thing, and he’s really doing some remarkable stuff with that here. Plus, we don’t get to see Claudia’s face as she looks for Anna, so we have no idea what she’s really thinking. Antonioni forces us to extrapolate onto her. So good!
Another reoccuring visual motif is that of half-indoor, half-outdoor space. We see it in the film time and time again, where someone (usually Claudia) is inside, staring out the window, and we can see that expanse of nature in front of the character, within reach, but the other half of the frame reminds us that we’re still indoors. Trapped, if you will. Antonioni’s visualization of the struggle between heart and head usually has Claudia trapped inside, looking out. Until the last shot of the film.
After he has betrayed her, Claudia seemingly makes the choice to embrace Sandro anyway (and, in the process, Anna’s ghost?). They stand outside, still staring into the distance, still looking for Anna (maybe), but this time, a building half-obscures the view. Even when Claudia chooses love, the clarity she’s hoping for is denied her. That damn building is still in the way.
My favorite Antonioni, and one of my favorite films of all time, is Red Desert, and I was pleasantly shocked to see just how many similarities the two films have. It’s as if Red Desert‘s Guilana is Claudia, aged a few years and thoroughly disappointed by her life with Sandro. I’ll be doing a frame comparison of the two films within the next few days (get excited); for now, have a sexy Monica Vitti face for your patience.