{"id":94094,"date":"2023-12-21T20:43:01","date_gmt":"2023-12-22T03:43:01","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=94094"},"modified":"2023-12-21T20:48:14","modified_gmt":"2023-12-22T03:48:14","slug":"eclisse-l-1962","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=94094","title":{"rendered":"Eclisse, L&#8217; \/ Eclipse, The (1962)"},"content":{"rendered":"<p><strong>&#8220;All those billions, lost &#8212; where do they end up?&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster-210x300.png\" alt=\"\" width=\"210\" height=\"300\" class=\"alignleft size-medium wp-image-94097\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster-210x300.png 210w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster-90x128.png 90w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster-189x270.png 189w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Poster.png 632w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA young woman (Monica Vitti) who has just broken up with her lover (Francisco Rabal) finds new romance with the earnings-focused stock broker (Alain Delon) of her mother (Lilla Brignone).\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Alain Delon Films<\/li>\n<li>Italian Films<\/li>\n<li>Michelangelo Antonioni Films <\/li>\n<li>Monica Vitti Films<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nThis third entry in Antonioni&#8217;s informal &#8220;trilogy of alienation&#8221; &#8212; following <a href=\"https:\/\/filmfanatic.org\/?p=85652\"><em>L&#8217;Avventura<\/em> (1960)<\/a> and <a href=\"https:\/\/filmfanatic.org\/?p=94080\"><em>La Notte<\/em> (1961)<\/a> &#8212; once again features his muse and lover, Monica Vitti, in a central role; and, similar to the two earlier titles, its storyline &#8212; this time taking place in <a href=\"https:\/\/en.wikipedia.org\/wiki\/EUR,_Rome\">the EUR of Rome<\/a> &#8212; isn&#8217;t exactly jam-packed. As <a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s1555lecl.html\">DVD Savant<\/a> writes in his synopsis of the film: &#8220;The camera simply observes a series of events in a young woman&#8217;s life that show her responses &#8212; or more accurately, her difficulty in finding responses &#8212; to what seems a random and soul-less existence.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-1024x557.png\" alt=\"\" width=\"640\" height=\"348\" class=\"alignnone size-large wp-image-94166\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-1024x557.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-300x163.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-768x418.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple-496x270.png 496w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Couple.png 1288w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>Indeed. Of course, there is a lot more going on thematically for those interested in digging deeper; as <a href=\"https:\/\/www.screeningthepast.com\/issue-41-dossier\/the-emotional-historiography-of-michelangelo-antonionis-leclisse\/#:~:text=It%20is%20widely%20recognized%20that,living%20in%20Cold%20War%20Rome.\">Professor Richard Read notes in his analysis of the film<\/a>: <\/p>\n<blockquote><p>&#8220;It is widely recognized that Michelangelo Antonioni\u2019s film <em>L\u2019Eclisse<\/em> is a late Italian Neo-Realist critique of the alienating effects of capitalist reification, mass society, mechanization, dysfunctional gender roles and urban living in Cold War Rome.&#8221; <\/p><\/blockquote>\n<p>Yep. All that, for sure &#8212; though as a straightforward movie-watching experience, the film remains less than compelling. However, Vitti and Delon are a beautiful couple to look at: <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-1024x547.png\" alt=\"\" width=\"640\" height=\"342\" class=\"alignnone size-large wp-image-94167\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-1024x547.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-300x160.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-128x68.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-768x410.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun-505x270.png 505w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/Eclisse-Fun.png 1293w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8230; and Gianni Di Venanzo&#8217;s cinematography is top-notch. Especially noteworthy are the energetic stock trading scenes, filmed with real brokers as extras to add to the verisimilitude. <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-1024x556.png\" alt=\"\" width=\"640\" height=\"348\" class=\"alignnone size-large wp-image-94171\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-1024x556.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-300x163.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-768x417.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon-497x270.png 497w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Stock-Market-Delon.png 1295w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a> <\/p>\n<p><strong>Note:<\/strong> If you&#8217;d like to geek out on the role of architecture in this film, be sure to watch <a href=\"https:\/\/www.youtube.com\/watch?v=pQpQi9ji1yI\">James Macgillvray&#8217;s talk<\/a>. <\/p>\n<p><strong>Notable Performances, Qualities, and Moments:<\/strong><\/p>\n<ul>\n<li>Fine cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-1024x556.png\" alt=\"\" width=\"640\" height=\"348\" class=\"alignnone size-large wp-image-94177\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-1024x556.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-300x163.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-768x417.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing-497x270.png 497w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Vitti-Wind-Blowing.png 1283w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-1024x549.png\" alt=\"\" width=\"640\" height=\"343\" class=\"alignnone size-large wp-image-94168\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-1024x549.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-300x161.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-768x412.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum-503x270.png 503w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Colosseum.png 1299w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-1024x563.png\" alt=\"\" width=\"640\" height=\"352\" class=\"alignnone size-large wp-image-94174\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-1024x563.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-300x165.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-768x422.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street-491x270.png 491w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/12\/LEclisse-Street.png 1283w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, though most film fanatics will probably be curious to check it out.  <\/p>\n<p> (<span style=\"color:red;font-weight:bold;\">Listed in <a href=\"http:\/\/filmfanatic.org\/wp-static\/1001Movies.htm\"><em>1001 Movies You Must See Before You Die<\/em><\/a><\/span>) <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0056736\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.tcm.com\/tcmdb\/title\/73888\/eclipse#articles-reviews?articleId=659925\">TCM Article<\/a><\/li>\n<li><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s1555lecl.html\">DVD Savant Review<\/a><\/li>\n<li><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s1555lecl.html\">Jonathan Rosenbaum&#8217;s essay for Criterion<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;All those billions, lost &#8212; where do they end up?&#8221; Synopsis: A young woman (Monica Vitti) who has just broken up with her lover (Francisco Rabal) finds new romance with the earnings-focused stock broker (Alain Delon) of her mother (Lilla Brignone). Genres, Themes, Actors, and Directors: Alain Delon Films Italian Films Michelangelo Antonioni Films Monica Vitti Films Review: This third entry in Antonioni&#8217;s informal &#8220;trilogy of alienation&#8221; &#8212; following L&#8217;Avventura (1960) and La Notte (1961) &#8212; once again features his&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=94094\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-94094","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/94094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=94094"}],"version-history":[{"count":14,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/94094\/revisions"}],"predecessor-version":[{"id":94187,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/94094\/revisions\/94187"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=94094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=94094"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=94094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}