elvircorhodzic L'ECLISSE is a romantic drama about an alienation, life's riddles and relationships.Vittoria, a young literary translator, breaks off her relationship with her boyfriend, an older writer, in his apartment, following a long night of conversation. Sometime later, she visits her mother at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. She meets a young and energetic stockbroker. He is her mother's stock broker. Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. However, she is impressed with a young stockbroker, his character, outlook and business...Mr. Antonioni has continued his tradition. His vague and abstract pictures are a reflection of human relations and interests. The protagonists are sad, confused and somewhat lifeless. This is not a story about an unhappy or elusive love. This is a story about the needs and emotions in a material world. Mr. Antonioni has made a contrast between the inner moods of a woman and intimidating behavior of a group of people who run for the money. His unconventional narrative reveals a naked truth, especially in final scenes.The characters are lost and vague.Monica Vitti as Vittoria is a timid and suspicious young woman, who sees the pieces of greed and lust in the people around her. Due to her lack of confidence and self introversion, she is trying to establish an abstract relationship with objects. Alain Delon as Piero is a young beauty from a material world. He, unconsciously, complements Vittorias nature. However, his relaxed approach, in terms of love, has a negative effect on her.The last scenes are a kind of projection of a material life, in which a normal existence is not possible.

HANS I don't know what this film is. It runs for more than two hours, has only an excuse of a plot and yet I wasn't bored for a second. This by itself seems like a glorious achievement.Admittedly, it is easy to keep staring at the screen because Monica Vitti is so magnetic. The desolation and alienation of those empty suburban streets is balanced and somehow lifted by the very good cinematography. It's as if Antonioni gave us the diagnosis and the cure at the same time. He takes a look at things that is both realistic and removed from reality.He observes and unmasks the weirdness of modern life. But journalists do that too, so there's more. The African dance is unexpected and energetic and completely breaks the rhythm of the film for a moment, while the stock exchange turns into a cage of raging monkeys. Those images are very inexplicable, and they are interspersed by more tangible statements about racism, nuclear threat, obsession with numbers and other absurdities of life. It all blends together into one big picture, while the director seems to be saying: this is how we live, this is where we are going.The movie is full of details, like the necklace made of a solid iron chain that the Vitti character is wearing in her last scene.The final sequence, which is also the climax of the film, can mean anything and nothing. Instead of „rewarding" the audience for their patience, Antonioni takes it one step further. He removes the bridle of his horse and just let's it go. It can easily be overloaded with interpretations or just taken for what it is. I found it weird and hypnotizing.I think this is also about filmmaking and it's power and possibilities, rather than filmmaking as a means to tell a trivial story.

blanche-2 This is the last of Antonioni's Incomunicability trilogy that began with "La Notte," "Avventura," "La Notte," and finally "L'Ecclisse," (The eclipse).Normally I have a problem with this kind of film. They move slowly, seem to be style over substance, and pretentious. "L'Ecclisse" is an exception in that it really is saying something.Knowing Antonioni's point of view gives some insight as to what's behind "L'Ecclisse." We cannot make a real connection with another person due to too much technology. We cannot connect any longer to the natural world and are doomed to be out of tune with it now. The beginning of this film is almost completely free of dialogue. Vittoria (Monica Vitti) and her fiancée, Riccardo, have been up all night discussing their relationship. She no longer loves him, but she can't tell him why.Vittoria visits her mother, who hangs out most days at the stock exchange in Rome. There she meets her mother's stockbroker, Piero (Alain Delon), a handsome, ambitious young man. They are attracted to one another, though he wants to act on it and she resists. Eventually she gives in. They are opposites. She is quiet, mysterious, and confused; he is part of the modern world, talkative, ambitious, and busy.Images are important -- images of modern life, new buildings, the Stock exchange, and primitive images, Vitti's dance, the dead plant. It all culminates in the final sequence. L'Eclisse is unlike a typical film in its emphasis on the discontentedness of modern life and its nontraditional approach. It may be hard to adjust to. But if you can, it's well worth it.

ags123 In this, his third film about the boredom and alienation of modern society, Antonioni reaches new heights in boring and alienating his audience. While Monica Vitti is indeed a beautiful and charismatic screen presence, watching her wander aimlessly for over two hours quickly loses its appeal (Though I'll take it over watching Jeanne Moreau wander aimlessly for over two hours in "La Notte"). Occasional sparks of interest go nowhere, as in her quest to find the lost dog. The "African" sequence is far more shocking today than it was half a century ago, seeing how it flies in the face of today's overbearing political correctness. None of these episodes amount to much; we already get where Antonioni is going from the opening sequence in which the two lovers are monosyllabically calling it quits. If you enjoy watching paint dry and then analyzing a blank canvas, this film will provide lots of fodder.