Michelangelo Antonioni (1912-2007)
"Antonioni's specialty, the effect of moving as in a chess game, becomes an autocratic kind of direction that robs an actor of his motive powers and most of his spine. A documentarist at heart and one who often suggests both Paul Klee and the cool, deftly neat, 'intellectual' Fred Zinnemann in his early Act of Violence phase, Antonioni gets his odd, clarity-is-all effects from his taste for chic mannerist art that results in a screen that is glassy, has a side-sliding motion, the feeling of people plastered against stripes or divided by verticals and horizontals; his incapacity with interpersonal relationships turns crowds into stiff waves, lovers into lonely appendages, hanging stiffly from each other, occasionally coming together like clanking sheets of metal but seldom giving the effect of being in communion.
At his best, he turns this mental creeping into an effect of modern misery, loneliness, cavernous guilt-ridden yearning. It often seems that details, a gesture, an ironic wife making a circle in the air with her finger as a thought circles toward her brain, become corroded by solitariness. A pop jazz band appearing at a millionaire's fete becomes the unintentional heart of La Notte, pulling together the inchoate center of the film - a vast endless party. Antonioni handles this combo as though it were a vile mess dumped on the lawn of a huge estate. He has his film inhale and exhale, returning for a glimpse of the four-piece outfit playing the same unmodified kitsch music - stupidly immobile, totally detached from the party swimming around the music. The film's most affecting shot is one of Jeanne Moreau making tentative stabs with her somber, alienated eyes and mouth, a bit of a dance step, at rapport and friendship with the musicians. Moreau's facial mask, a signature worn by all Antonioni players, seems about to crack from so much sudden uninhibited effort.
The common quality or defect which unites apparently divergent artists like Antonioni, Truffaut, Richardson is fear, a fear of the potential life, rudeness, and outrageousness of a film. Coupled with their storage vault of self-awareness and knowledge of film history, this fear produces an incessant wakefulness. In Truffaut's films, this wakefulness shows up as dry, fluttering inanity. In Antonioni's films, the mica-schist appearance of the movies, their linear patterns, are hulked into obscurity by Antonioni's own fund of sentimentalism, the need to get a mural-like thinness and interminableness out of his mean patterns.
The absurdity of La Notte and L'Avventura is that its director is an authentically interesting oddball who doesn't recognize the fact. His talent is for small eccentric microscope studies, like Paul Klee's, of people and things pinned in their grotesquerie to an oppressive social backdrop. Unlike Klee, who stayed small and thus almost evaded affectation, Antonioni's aspiration is to pin the viewer to the wall and slug him with wet towels of artiness and significance. At one point in La Notte, the unhappy wife, taking the director's patented walk through a continent of scenery, stops in a rubbled section to peel a large piece of rusted tin. This ikon close-up of minuscule desolation is probably the most overworked cliche in still photography, but Antonioni, to keep his stories and events moving like great novels through significant material, never stops throwing his Sunday punch. There is an interestingly acted nymphomaniac girl at wit's end trying to rape the dish-rag hero; this is a big event, particularly for the first five minutes of a film. Antonioni overweights this terrorized girl and her interesting mop of straggly hair by pinning her into a typical Band Aid composition - the girl, like a tiny tormented animal, backed against a large horizontal stripe of white wall. It is a pretentiously handsome image that compromises the harrowing effect of the scene."
-Manny Farber, "White Elephant Art vs. Termite Art"