Introduction to adventure

Introduction to adventure | appreciation | thinking

1960 black and white movie 135 minutes

Italy Europa Film Company and France Lille Film Company jointly produced.

Director: michelangelo antonioni Screenwriter: michelangelo antonioni Airiau Barto Rini Tonino Guerra Photography: Ardu Gabalda Main Actors: monica vitti (Claudia) Gabriel Fossetti (Sandro) Leia Mashari (Anna) Duminik Blanca (Julia)

This film won special awards from the jury of Cannes International Film Festival from 65438 to 0960.

abstract

Anna, a 25-year-old brown-haired girl, is the daughter of a rich retired diplomat. She fell into the contradiction of love. Her love affair with Sandro, an architect who is nearly 40 years old, left only the content of * * *, and nothing else. She realized that Sandro is a person who loves the new and hates the old. In fact, she is indifferent to love. Anna's father said to her, "such a person will never marry you, my child." Anna replied, "So far, I don't want to marry him."

Anna decided to take a yacht trip to the sea. She made an appointment with her girlfriend Claudia, who is about her age, and also found Sandro. Anna undressed and slept with Claudia in Sandro's room before leaving, regardless of her waiting downstairs. But then I felt bored. After boarding the yacht, I made some friends: Raymond in his thirties, corrado in his older age, Julia and Patricia in his late forties. This is also a group of people with mental emptiness and sexual dysfunction. While swimming in the sea, Anna went swimming in the sea. She suddenly screamed that there was a shark, but it turned out to be a joke. Sandro risked his life to save her, which gave her some comfort, although this action did not restore her trust in Sandro.

The tourists on the yacht decided to board an island. The island is surrounded by bare cliffs. But when the gang left the island, they found Anna missing. So I started searching. Anna's father was informed and immediately came to the island. He found two books from his daughter's suitcase, one is the Bible, and the other is the novel Tender is the Night by American writer Fitzgerald. Anna's father asserted that anyone who reads the Bible would not commit suicide, and from some clues they found, Anna probably left the island quietly on a smuggling boat.

The search on the island lasted for several days. Sandro became more and more interested in Claudia during this period. When they boarded the yacht and left the island, Sandro suddenly kissed her, and she kissed him back involuntarily. She was surprised by her behavior, so she quickly left him and decided to take the train alone to stay at Marquise Montaldo's estate, so as not to cause trouble.

However, Sandro followed him and got on the train with him. Although Claudia finally resisted his temptation and kicked him off the train, Sandro's sweet words actually touched her, and her feelings for Anna began to deteriorate gradually, from hoping that Anna would return safely to fearing that she would take Sandro away again.

Sandro went to Messina alone to find Anna's whereabouts. He found a reporter who reported Anna's disappearance in the newspaper, but nothing came of it. In Messina, he saw an American girl who attracted a large number of onlookers because of her revealing clothes, and even affected traffic order. The reporter told Sandro that the girl only needs 50 thousand lira to get it. Sandro was impressed.

By this time Claudia had arrived at Montaldo Manor. There, she met tourists from yachts and met some people, including the enthusiastic young painter Goffredo. When Claudia accompanied Julia to Goffredo's room to see his works, she found that he was a man who painted naked women. Goffredo seduced Julia, and Julia rebelled a little and tamed her. Claudia saw that her image had changed from Julia's submission to the teasing of the opposite sex, and she couldn't help but get flustered and quickly avoided.

Claudia, who was tortured by * * *, read in the newspaper that a grocery store owner somewhere claimed that he had received a girl whose clothes matched Anna's characteristics. Some inexplicable force drove her to the boss to find out. But I happened to meet Sandro at the grocery store. The boss can only say that he saw the girl get on a bus to Noto. Sandro moved Claudia's luggage into his car and they went to Noto together. On the way, they couldn't help hugging and kissing and having fun in the wild. After arriving in Noto, Claudia was afraid to go to the hotel with Sandro to find Anna. She was afraid that if she found out, she would be humiliated in front of her.

Anna is still missing. They went for a walk. Sandro suddenly proposed to Claudia. She felt flustered and said half-heartedly, at least not now. After returning to the hotel, she danced with joy and showed great affection for Sandro, but Sandro was obviously depressed and could not share her joy.

Sandro went out for a stroll alone. In the solemn church, in front of the priest dressed in black and the young students studying the church building, he felt ashamed and full of regret and resentment. After returning to the hotel, he was not interested in Claudia's new clue about Anna, but just had sex with Claudia. Claudia turned him down, and Sandro said it was just another adventure for her, so why take it seriously? This made her feel sad, but Sandro's sweet words turned her from joy to worry.

A pair of lovers came to a luxury hotel in taormina, met a group of people on the yacht, and met several people at Montaldo Manor. That night, Sandro left the sleepy Claudia, and when he went downstairs, he found that Gloria Perkins, a sexy girl he had met in Messina, was also in the same hotel.

At dawn, Claudia, who had not slept well all night, got up, dressed and went out to find Sandro. She went to Patricia's room first. She was afraid that if Anna came back, Sandro would disappear. After coming out of Patricia's room, she searched all the rooms in the hotel, and finally came to the big restaurant, only to find Sandro and Perkins having fun on a sofa. Claudia was surprised and turned away. She ran out of the hotel into the street.

She stood in front of a bench and looked absently at the trees swaying in the morning breeze. Sandro caught up. He sat on the bench and began to sob. Claudia slowly reached out and stroked his hair, gently but without any feelings.

Distinguish and appreciate

Adventure is antonioni's sixth film. After taking risks, he went on to shoot Night (1962) and Eclipse (1964), which formed his trilogy of human feelings.

When Adventure was shown at 1960 Cannes International Film Festival, the audience was booed. They thought the film was incomprehensible. The unusually slow rhythm, characters who basically express their feelings with eyes and gestures without language, a large number of empty shots, no causal relationship and the plot structure at the beginning and end all make the audience in Cannes and all over Europe feel boring and unbearable.

However, it soon found supporters and admirers. The early 1960s was a year when European art films rose again, and the opening of art cinemas mushroomed. Adventure has become the most ideal program in art theaters. A group of influential critics pointed out that compared with the first wave of European art films 40 years ago, the art nouveau film with adventure as the pioneer "undoubtedly made greater contributions" in exploring the aesthetic potential of film means. The emergence of adventure represents the birth of a brand-new language. The traditional concept of plot and structural rules have been completely abandoned, and the beauty of film art works "no longer depends on its reasonable content" and "the form has an independent life" As an art, film has finally kept pace with the modernization of other arts. With the support of this enthusiastic eulogy, Adventure has established its important position in the history of western film art in less than one year after its publication, and has become one of the landmark films that people have to mention when talking about the history of film language changes and the influence of modernist art on movies.

The great difference between adventure and the classic movies we are familiar with is obvious.

First, it breaks the traditional concept of plot. When the audience in Cannes was booed, what they found most unacceptable was that the film did not give a systematic and clear account of the identity and history of the characters. In general narrative films, the presentation department usually appears from the beginning, introducing the life experiences of the main characters and the ins and outs of their relationship to the audience. In Adventure, the audience didn't get to know the characters by chance until the middle or even the second half, and they were often unprepared. For example, we didn't know he was an architect until Sandro and Claudia visited the church in Noto. Only in the second half of the film did we know that Claudia was a poor girl, but until the end of the film, we still didn't understand why she could associate with upper-class people. Why did Anna disappear, and whether she was dead or alive in the end? For these crucial "below", the film does not explain at all. It is said that antonioni once explained that since Sandro has fallen in love with Claudia, there is no need to care about Anna's whereabouts. 1966 In response to a question from a film critic, French modernist film director Gerdal declared that he agreed that a narrative film should have a beginning, a middle and an end, "but not necessarily in this order". After Adventure, "no plot" movies were all the rage, and they still reverberate today, which shows its far-reaching influence.

With the disappearance of the traditional concept of plot, the behavioral motives of characters tend to be blurred. Antonioni did not provide any explanation for the motives of Claudia, Anna or Sandro. We say that she is "afraid" and "tired", which is just the conclusion we as an audience draw according to her eyes, expressions, gestures and postures. In fact, the most faithful description of all the contents of antonioni's trilogy of human feelings should be only a few words: so-and-so fell in love with so-and-so, and no longer loved; Or so-and-so fell in love with so-and-so and then broke up. Antonioni claimed that even he could not answer some questions about his characters. What is the reason? In antonioni's own words, this is because contemporary people live in a social environment where "God no longer exists" and "traditional moral norms are out of date". Their hearts are empty, emotionally estranged and unable to communicate with each other. Antonioni, as one of the representatives of Italian neo-realistic films, once thought that poverty was the main problem facing Italy after the war, like others in his early creation, but later he changed his view and regarded the inner loneliness of contemporary people as the main crux of the problem. Therefore, the unreasonable love, hate, love and pathological behavior of the characters in his films are the "true portrayal" of the image of "contemporary people" in his mind. Monica vitti, the heroine of Adventure, must also be mentioned here. Jay Scott, an American film theorist, thinks: "As a director, antonioni only got more and more attention after discovering the heroine played by monica vitti ... because her posture and behavior are surprisingly suitable for expressing the confused and boring mentality of contemporary people in his mind. Her body is so soft, it seems that she has no self-control ... She floats in a picture frame characterized by emptiness in antonioni, swaying, swaying ... stagger, aimless. ..... Although Vitti's face is also very expressive, it is even more difficult for us to forget her image of being lazy and lonely in a simple house with bauxite structure in post-war Italy. " It is no accident that Vitti plays the heroine in Adventure, Night and Eclipse.

Adventure (as well as Night and Eclipse) uses a lot of empty shots, which is an important element of antonioni's unique film language. In Adventure, the yacht sailed along the coast of a volcanic island. Before Anna, Sandro and Claudia were on the grass outside the city, people searched for this desolate island for a long time ... Especially the silent shot of the square at the end of the city (immediately reminiscent of the seven-minute empty street at the end of Eclipse) provided an example. Antonioni said: "If there is one thing I often do, it is to aim the camera at inanimate objects instead of people, so that things appear abstract and show how weak human feelings are." Ferini also said that the charm of antonioni's "film" lies in its appearance and its deliberate pursuit of works. They have a special effect ... elegant, but indifferent. "

In order to emphasize this cold, empty and lonely atmosphere and emotional appeal, antonioni seldom uses subjective shots, that is, shots taken from the perspective of a certain person. Empty city squares, streets, islands and oceans all exist with the characters in the film, which makes the audience unable to resonate with the characters in the film, but makes the director and the audience feel alienated. Similarly, antonioni is very stingy in the use of music and stereo. In the trilogy of human feelings, long silence has almost become the main "sound effect"

People who don't appreciate antonioni's unique film language tend to exaggerate its symbolic meaning and even interpret the image symbols of adventure from the perspective of pure literature. Therefore, when Julia pointed to the volcanic island on the yacht and said that "the islands in this area used to be active volcanoes", this shot was interpreted as "now the volcano has lost its vitality, just like these characters have lost their vitality." People have been searching for Anna's whereabouts on the island for a long time, because antonioni "wants to show how far his characters are from nature, from the past, from each other and from his own nature". Raimondeau found an old bottle on the island and accidentally broke it, which is "a hint that these characters lack the concept of historical continuity, and they have nothing to do with history". Even Claudia accepted a dress given to her by Anna. She tried on a black wig in Patricia's room, which "symbolizes that Claudia has lost her personality" and "hopes to be Anna". Symbols certainly exist in modern movies, but an overly imaginative interpretation sometimes damages the abstract meaning of film modeling elements, and movie appreciation like Adventure undoubtedly needs an aesthetic ability to directly realize audio-visual images.