Antonioni’s film about stockbrokers and urban alienation is like its protagonists: baffling, beautiful, and strangely clinical
Apart for the admittedly problematic blackface scene, Antonioni’s L’eclisse has largely withstood the test of time. The BFI recently revisited some of the Italian director’s other films, including L’avventura (1960) and Red Desert (1964), yet L’eclisse would appear to be a more timely choice. This exploration of the stock market, juxtaposed with the characters’ ennui and solipsism, strikes a chord with the disillusionment rife in a post-Lehman Brothers economic climate.
Antonioni’s muse Monica Vitti stars as literary translator Vittoria, who at the start of the film breaks off a relationship with her academic, socialist boyfriend. Vittoria is like a modern-day Madame Bovary: well educated, elegant, and hopelessly bored. She is certainly enigmatic. Her thoughts and motivations are never fully explained, but we are left to understand that she is full of restlessness and joie de vivre (she is flown about in a small private plane, recklessly demanding to be flown into a cloud), and that she is unhappy in a middle-class sort of way (she is fascinated by Africa, where she assumes life must be simple and easy).
Just before the film disappears into an insufferable cloud of narcissistic first-world problems, Vittoria makes an unexpected encounter. The film follows her as she visits her mother at the Rome Stock Exchange, effectively gambling away her money after the death of her husband. There, she meets an uncannily young-looking Alain Delon, playing the fast-living, no-nonsense City boy Piero.
Everything about him should make us, and Vittoria, recoil in horror. Piero is loud and rude, and shrugs off clients who have lost millions because of him with a breezy “the stocks go up, and they go down, what can I do about it?” He can’t sit still for a second, is an amateur philanderer, and has a penchant for blondes. The stock market is presented as being like a boxing ring, with the investors shouting, squabbling and cheating their way to affluence. Like gambling, it attracts lonely and vulnerable people, not least of which is Vittoria’s mother.
Bergman classic Through a Glass Darkly brings together Aristotelian unities of character, time and location, wearyingly intense performances, and flirtatiously batshit sisters
Through a Glass Darkly contains all of the classic elements of early Bergman: Aristotelian unities of character, time and location, long and dialogue-heavy black-and-white takes, wearyingly intense performances, excellent glasses, and a winning combination of earnest religious doubt and chic continental angst. Nobody makes despair look as cool as Bergman.
Like most of his works of the same period, it’s a deceptively simple story (I could say something here about how it was ‘conceived as a chamber piece’, but you all know where Wikipedia is). The film focuses on 24 fairly melodramatic hours in the lives of four characters. David, a morbidly self-obsessed author suffering from writer’s block, returns from a period of artistic retreat in Switzerland to visit his much-neglected family in a remote cottage in the fjords: Karin, his energetically schizophrenic daughter who has just been released from hospital; Martin, her decent, upstanding and rigorously boring husband; and her younger brother Minus, a precocious and conflicted 17 year-old with a massive paternal inferiority complex and an uncontrollable crush on his flirtatiously batshit sister. Let battle commence.
The initial harmoniousness of the father’s return is broken by Martin’s revelation to David that Karin’s recent schizophrenic breakdown may in fact be an incurable illness. Karin later discovers David’s diary, in which he admits to his intention of using her impending mental decline as the artistic subject-matter that his intensely bourgeois life has so far failed to provide. This precipitates a mental unravelling in which the codified meanings of domestic life break down and taboos are temporarily suspended. While David and Martin are on a daytrip to the mainland, Karin and Minus find themselves careering towards a consummation of their irrational mutual fixation.
Like John Cassavettes’ A Woman Under the Influence, the film on one level portrays a female consciousness ground down by the patriarchal tedium of domestic life. Martin does a great line in irreproachably unfanciable Nordic steadfastness: tall and reassuringly boring, like an Ikea wardrobe. The earnest man-chat between him and Karin’s father that opens the film is so hilariously leaden that in five minutes it creates a ready-made empathy for Karin’s mental unravelling. We instantly side with the weird and sexy dionysian over the unsexy domestic males. What’s more, so does young Minus.