Review of L'Eclisse (1962) by Ivan M — 03 May 2012

L'Eclisse is the final part of Antonioni's 'Incomunicability Trilogy'. The two scenes which give the most understandable representation of the trilogy's recurring atmospheres and personalities are in my opinion, the opening scene and the famous ending.

The film begins at dawn. Vittoria (Monica Vitti) and Riccardo (Francisco Rabal) have been speaking awkwardly throughout the night, waiting for the inevitable moment where their relationship ends completely.

They continue their slow, desperate discussion for several minutes, answering one another's questions with questions, milking the phrase 'I don't know' until it's dry, weeping, and checking to see the effect it may be having on the other person.

This depressing style of dialogue is common in Antonioni's films and this is probably the best example of it I've seen. The ending, again, is the other great scene in the film. Vittoria and her new boyfriend, Piero (Alain Delon), have arranged to meet.

We see Vittoria wander the streets, supposedly on her way there, but then she walks off the frame, emotionless, and we do not see her again. We travel to their meeting place and find that neither of them have shown up.

It's puzzling. These films are about people becoming increasingly alienated from emotions in an increasingly modernised world, an atmosphere which is emphasised by the very industrial areas of Rome the film takes place in.

The stockmarket scenes, for example (these are the most energetic scenes in the film). These men behave like wild animals as they gamble and make endless phonecalls while screaming at each other about money and business.

They are more interested in the numbers that appear on the billboard than they are in observing a moment's silence to mourn the death of their friend and colleague. L'Eclisse isn't exactly a 'feel-good movie'.

It's one of the most interesting studies of the modern world ever commited to celluloid. I can't stress how fascinated I am with every aspect of this film, which has grown on me hugely after a second viewing.

The way Antonioni has completely countered the conventions of cinema was both brave and influential.