Il deserto rosso
In a bleak rundown industrial area a young woman, Giuliana, tries to cope with life. She’s married to Ugo the manager of a local plant but is soon having an affair with one of his co-workers, Corrado Zeller, who is visiting. Giuliana is unstable, not quite knowing anymore just what her role is, whether that be a wife, a mother or just another person. Her escape from life is short-lived however as Zeller is simply using her to satisfy his own needs and desires.
Plot Keywords: factory / fog / ship / anxiety-disorder / electronic-music
Taglines: This is the story of a woman…Her hidden thirsts and hungers…Told by the world-famous director Michelangelo Antonioni in his first color film.
Certificate: Argentina:16 | Australia:PG | Canada:PG (Alberta) | Finland:K-16 | Germany:12 | Hungary:18 | Italy:VM14 | Netherlands:18 | Portugal:M/16 | Singapore:PG | Sweden:15 | United Kingdom:X | United Kingdom:12A | United Kingdom:15 (video rating) | United States:Not Rated | West Germany:18 (f)
Cast: Monica Vitti , Richard Harris , Carlo Chionetti , Xenia Valderi , Rita Renoir , Lili Rheims , Aldo Grotti , Valerio Bartoleschi , Emanuela Pala Carboni , Bruno Borghi , Beppe Conti , Giulio Cotignoli , Giovanni Lolli , Hiram Mino Madonia , Giuliano Missirini , Arturo Parmiani , Carla Ravasi , Ivo Scherpiani , Bruno Scipioni
Company: Film Duemila
Country: Italy , France
Language: Italian , Turkish
Released Date: 29 Oct 1964 (France)
Film Location: Sardinia, Italy
Runtime: 117 min
Soundmix: Mono (Westrex Recording System)
Color: Color (Technicolor)
Aspect Ratio: 1.85 : 1
Yaaatoob » Italian director Michelangelo Antonioni's 1964 piece 'Red Desert' is, on the surface, a film that deals with the changing face of the world under rampant industrialisation, but far more than that it's a comment on alienation and human adaptability in such a society. Guiliana (played by Monica Vitti) is the wife of petroleum plant manager Ugo. She lives in a spacious, modern apartment with Ugo and their small son, but there's an undercurrent of instability in Guiliana's persona, a feeling of unease and angst that Monica Vitti exhibits in Guiliana's every action. Vitti's portrayal of Guiliana is one of a woman on the point of a nervous breakdown, always fidgeting, wringing her hands, looking at unease and full of angst and continually walking away from conversations, forcing others to follow her. The way her character hugs close to walls at every opportunity is allegorical of her need to be surrounded by friends, family and loved ones, claiming that she "is only ill when I'm alone". We find out that Guiliana had recently been in a car accident and had spent a month in hospital being treating for shock, but unbeknownst to Ugo, Guiliana isn't adjusting well after her accident, while her husband remains entirely oblivious. Into the frame comes Corrado Zeller (Richard Harris), an engineer friend of Ugo on his way to set up a new petroleum plant in Patagonia. Zeller is a quiet, reserved man who, like Guiliana, is visibly at unease with his surroundings, however his life and work afford him the luxury of moving from place to place, while Guiliana feels increasingly trapped in her existence. Inexorably, Zeller and Guiliana are drawn to each other, Zeller recognising a kindred spirit of sorts and Guiliana casting out a cry for help that only Zeller is capable of recognising. The fact that Zeller picks up on this and is continually drawn to Guiliana, despite her unstable, demanding behaviour, immediately points to his attraction to her, but it's only after acting on his attraction that Guiliana comes to accept her station and encounters her defining realisation; people aren't cured, they adapt.
But it's not just Guiliana's life she has to adapt to, it's her surroundings, beautifully brought to screen in what was, quite surprisingly, Antonioni's first foray into colour. With a telephoto lens to flatten the perspective, framing scenes purposefully out of focus and the use of disarming long-cut shots, Antonioni paints a bleached and chemical picture of post-war Italy, an Italy that expanded into an industrial super-power at an alarming rate. Antonioni was so adamant about how this world should be presented that he insisted on painting trees, barrels, walls and even whole fields to ensure the results he envisioned. An extreme measure, certainly, but a welcome one as the stark, sterile greys of this industrial Italy, juxtaposed here and there with flourishes of artificial, man-made colour, are often brought to the forefront of the viewer's mind when at times the pacing and ambiguity of the narrative create a lull in interest. Those man-made colours provide another allegorical point, alluding to how the society of this industrial community has adapted to the bleak repetitiveness of the environment by injecting splashes of primary colour into their surroundings. One criticism that's easy to level at 'Red Desert' is that it's an entirely singular film – Guiliana is undoubtedly the protagonist of this piece, but everyone else, even the ambiguous love interest Zeller, appears on screen barely defined. This might be a problem for anyone expecting a traditional narrative, but that's not what 'Red Desert' is about. There's no real progression of story here, only the progression of Guiliana's mental state, everything else is quite incidental and as such, is not admitted entry into Antonioni's vision. It's this bold vision that provides the films defining hallmark; the wonderful cinematography that surrounds Monica Vitti's accomplished, if somewhat overwrought, performance.
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