"Girlfriend now,I have a have a girlfriend now
,No way, no how I get a girlfriend now."
With a Italian viewing challenge and best films of 1955 poll taking place on ICM,I looked for titles I could cross both with.Picking this up years ago after hearing it mentioned in the commentary for the doc Z Channel: A Magnificent Obsession (2004),I decided to finally spend time with the girlfriends.
View on the film:
Featuring a detailed booklet, Masters of Cinema present a superb transfer, with the picture being crystal clear whilst retaining a film grain,and the soundtrack being smooth.
Stating in a interview that filming had to be stopped for 2 and a half months due to the original studio going bust, co-writer/(with Suso Cecchi D'Amico and Alba De Cespedes) directing auteur Michelangelo Antonioni & his regular cinematographer from this era Gianni Di Venanzo layer foundation over the behind the scenes troubles, to magnificently gaze at the progression of Antonioni's recurring motifs.
Inviting the audience in with a opening shot of Clelia looking in a bathroom mirror of her hotel room, as a glamorous dressed Rosetta lays dying from a overdose in the adjoining room,Antonioni perfectly captures his distinctive stylisation, reflecting in the recurring use of mirrors and glass surfaces the detachment the girlfriends have from the image/person looking back at them,which shines onto elegant, long, stilted wide-shots subtly building a separation between the girlfriends and the viewer.
Entering each of their households, Antonioni highlights the beauty of each girlfriend in close-ups set against a earthy, (separated by their high-class living) ravaged landscape.
Getting the role just two days before filming began after turning heads with a photo shoot,Madeleine Fischer gives a terrific turn as Rosetta, with Fischer using the limited number of credits she had gathered to give Rosetta a dying wallflower innocence, looking outwards as all around her become more insular.
Later called the "Diva" of the set who "felt that she had to act as such,without success." by Antonionoi, the beautiful Eleonora Rossi Drago gives a magnetic performance as Clelia, with her state of being a outsider entering Rosetta's friendships, leading Drago to emphasize a separation between Clelia and the girlfriends.
Freely adapting Cesare Pavese's novel, the writers welcome the girlfriends with outstanding dialogue pulling on how even when they appear deep in conversation,everyone is reflecting complete isolation and a inability to process difference of opinion. Stated later by Antonionoi that he directed each actress in different ways, the writers dress each of the girlfriends in wonderfully at odds styles, from the outward looking Rosetta and the glamour of Momina, (played by Hammer Girl Yvonne Furneaux) to Clelia standing as a square peg in the middle of the girlfriends.
With a Italian viewing challenge and best films of 1955 poll taking place on ICM,I looked for titles I could cross both with.Picking this up years ago after hearing it mentioned in the commentary for the doc Z Channel: A Magnificent Obsession (2004),I decided to finally spend time with the girlfriends.
View on the film:
Featuring a detailed booklet, Masters of Cinema present a superb transfer, with the picture being crystal clear whilst retaining a film grain,and the soundtrack being smooth.
Stating in a interview that filming had to be stopped for 2 and a half months due to the original studio going bust, co-writer/(with Suso Cecchi D'Amico and Alba De Cespedes) directing auteur Michelangelo Antonioni & his regular cinematographer from this era Gianni Di Venanzo layer foundation over the behind the scenes troubles, to magnificently gaze at the progression of Antonioni's recurring motifs.
Inviting the audience in with a opening shot of Clelia looking in a bathroom mirror of her hotel room, as a glamorous dressed Rosetta lays dying from a overdose in the adjoining room,Antonioni perfectly captures his distinctive stylisation, reflecting in the recurring use of mirrors and glass surfaces the detachment the girlfriends have from the image/person looking back at them,which shines onto elegant, long, stilted wide-shots subtly building a separation between the girlfriends and the viewer.
Entering each of their households, Antonioni highlights the beauty of each girlfriend in close-ups set against a earthy, (separated by their high-class living) ravaged landscape.
Getting the role just two days before filming began after turning heads with a photo shoot,Madeleine Fischer gives a terrific turn as Rosetta, with Fischer using the limited number of credits she had gathered to give Rosetta a dying wallflower innocence, looking outwards as all around her become more insular.
Later called the "Diva" of the set who "felt that she had to act as such,without success." by Antonionoi, the beautiful Eleonora Rossi Drago gives a magnetic performance as Clelia, with her state of being a outsider entering Rosetta's friendships, leading Drago to emphasize a separation between Clelia and the girlfriends.
Freely adapting Cesare Pavese's novel, the writers welcome the girlfriends with outstanding dialogue pulling on how even when they appear deep in conversation,everyone is reflecting complete isolation and a inability to process difference of opinion. Stated later by Antonionoi that he directed each actress in different ways, the writers dress each of the girlfriends in wonderfully at odds styles, from the outward looking Rosetta and the glamour of Momina, (played by Hammer Girl Yvonne Furneaux) to Clelia standing as a square peg in the middle of the girlfriends.