The movie has a bit of a lumpy, experimental quality, with Antonioni's customary compositional elegance severely muted and the experiments with the colour scheme variable in their impact. Even when it's striking, such as the bathing of the chief of police in cold grey light, Vitti in warmer colours and the poet somewhere in between, it never seems to move beyond a rather simple colour coding. The extremely dramatic opening music sets a tone of fiery melodrama, and events do develop a modest suspense, which slowly comes to be a distilled version of a standard Antonioni work touching on politics, love, ambiguity of motives and intentions, the unknowable quality of objective truth, and so on. Still, in this form it could hardly carry the impact of some of his greater works. The absence of the world outside focuses attention on the insular, claustrophobic nature of the plotting but basically marks it as a minor exercise.
Review of The Mystery of Oberwald
