Lee Eisenberg By 1975, Jack Nicholson was an established actor, having played a man disheartened with his path in life (Five Easy Pieces), a misogynist (Carnal Knowledge), and a detective (Chinatown). While his best known role from 1975 was that of the rebellious McMurphy in "One Flew Over the Cuckoo's Nest", an equally important one was that of a journalist who switches identities with a dead gun-runner in "Professione: reporter" ("The Passenger" in English).Michelangelo Antonioni had previously made a trilogy of movies looking at disillusionment with modernity (L'avventura, La notte, L'eclisse). But this focus on the topic emphasizes the protagonist's individual desire for something new. The first half of the movie has limited dialogue, often featuring a sentence or two before going several minutes without any speech, as if to emphasize the isolation that the protagonist feels in his current career. Things start to pick up once he meets a young woman (Maria Schneider) and soon realizes that by assuming a new identity, he's gotten in over his head. Much like how the protagonist of Antonioni's "Blow Up" faced a moral dilemma about his work, Nicholson's character has to face the issue of whether it was truly in his interest to adopt the gun-runner's identity.While this movie isn't a masterpiece in the vein of Nicholson's more famous movie that year, it still bears watching as a look at the question of one's role in the world, and our connection to events beyond our reach. And the final shot is one of the most impressive in cinema history.

keywitness "The Passenger" is a fascinating movie, a cinematic and philosophical masterpiece. I love Antonioni, and this is one of his best. I have watched it several times through the years, each time opening for myself a new moment or a new meaning. The acting is superb, and so is the camera work. The final scene that lasts for seven minutes without anything really happening is sublime. There is also a deep philosophical theme in the movie, uniquely different from other films of the time that also show dissatisfied, lost, or marginalized characters. Much has been written about the existential symbolism of the film, and it certainly pervades it on a grand scale. However, there is an interesting aspect of this movie which sets it apart from other existentialist works. In a Sartre-like view, a man is alienated from reality and does not feel welcome in the world nor connected with mankind. But in "The Passenger", it is David Locke's own life that is actually hostile to him. Let me try to explain what I mean. Like many people, he is trying to run away from mundane reality, the job that has been making him jaded, the marriage that's lost its flame. However, instead of making piecemeal changes, he tries to replace his life as a whole – reject it and become someone else. And now it is life itself that's after him, ready to punish him for violating the rules of engagement. It's as if he is just a vessel owned by life, which destroys him as soon as he tries to take matters in his own hands.At some point in the movie David says that he used to be somebody else, but traded him in (by the way, what a fabulous line). He boasts – he thinks he is in control of his life choices, but will soon find out otherwise. What crushes him in the end is not fate or circumstances or his past that catches up with him – it is life itself, ejecting an unruly passenger. Such juxtaposition of life with a man as a separate, all-powerful entity is unique in the artistic portrayal of existential struggle. The original title of the movie (in Italian) was "Profession: Reporter". This title would have made perfect sense if the character was an estranged observer of life. However, Jack Nicholson's character is truly a passenger – he is not in the driver's seat, and his privileges are pretty limited. His connection to life is neither cordial nor caring, the same way as there is no human connection between a train passenger and the train operator. David Locke has violated the rules, and his ticket is canceled. The train will continue forward without him. Captivating and mysterious Maria Schneider plays The Girl. As David jumps from one city to another, he keeps running into her. She is quite an ephemeral character, floating from place to place, seemingly not attached to any mundane or conventional activity like work or family. Having no name in the movie suits her character perfectly – one less connection to real life. Perhaps this is the only kind of people who David can interact with now and who can deal with him. When the police ask David's wife to identify his dead body, she says she doesn't know him. It is true – he has become a complete stranger to her. But when they ask the girl if she knows David, she says yes. Even though they have met only recently, they seem to be people of the same kind. Perhaps like him, the girl is also a passenger? Perhaps we all are.

jcnsoflorida I won't say Antonioni's masterpiece, because he made them in the plural, but this is unquestionably one of them. One of the great films of the 70s, full of mystery and mood. Nicholson is wonderful. Watching him one realizes what an amazing and underrated actor he is and has been. In the commentary he sounds a little self-important though he has a right to be proud of his work on this. Visually too this is a marvel, sort of a vicarious trip to north Africa and the south of Spain. The narrative? It's Antonioni so it's very avant-garde. One can never be sure of what's happening. Relax, that's what makes it such a trip. See this film and you'll remember it.

namashi_1 Michelangelo Antonioni's 'The Passenger' is Artistic Cinema! Its certainly not meant for everyone, as the story-telling in here, is lethargic & very dim. But for those who have a taste for something very different, they certainly will appreciate it.'The Passenger' Synopsis: A frustrated war correspondent, unable to find the war he's been asked to cover, takes the risky path of co-opting the I.D. of a dead arms dealer acquaintance.I wasn't bored or engrossed by 'The Passenger'. I did find myself interested to it, but only in the parts. The lethargic pacing & the dimness got to me after a point, but I definitely credit the film, for its originality. Michelangelo Antonioni's Direction is dim. Cinematography is high-class. Editing could've been sharper. Performance-Wise: Jack Nicholson aka The God of Acting, delivers a masterful performance, yet again. He infuses life into this otherwise moody film, with his marvelous act. Maria Schneider looks angelic & does well in some scenes. Steven Berkoff is decent. Charles Mulvehill leaves a mark.On the whole, 'The Passenger' caters to a niche audience.