Solidrariol Am I Missing Something?

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Beulah Bram A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

DICK STEEL As introduced by Lorenzo Codelli, Identification of a Woman was presented in the Cannes Film Festival in 1982 and received a special anniversary award. It's like a personal movie because the lead character Niccolo (Tomas Milian) is a film director, and tells of a personal crisis of the filmmaker. Niccolo was played by a leading Italian actor of the time, Tomas Milian, who was famous for his roles in Italian spaghetti westerns, and was an action star. This was essential the last feature film made by Michelangelo Antonioni before his stroke, before which he spent most of the 80s publishing short stories and exhibiting his abstract paintings.And personally, my bad track record with Antonioni's post L'Eclisse movies unfortunately continues. I'm pretty sure I'm missing something very obvious (or could be it so subtle it eludes me?) that I'm finding each of them quite difficult to sit through (save for perhaps The Passenger), and to try and see its underlying meaning. Perhaps I am just scratching the surface and in doing so, fail to appreciate what the movie's about and for.Or maybe Identification of a Woman is indeed the weaker of the lot, because of certain resemblance to plot design with his earlier masterpieces? For starters there seemed to be some repetitive themes revisited, but that I'm fine with because it made it easier to click with and connect. Just like how Niccolo and his squeeze Mavi (Daniela Silverio) spend considerable time at an emotionally empty high society party reminiscent of that in L'Notte, where they nurse issues from the heart, as well as for one to come to terms with the other's secret admirer.Surely the sex is good, and the movie wastes absolutely no time in getting beneath the sheets for some surprisingly erotic time of a horizontal tango complete with underarm forests, but naturally physical love doesn't compensate for emotional depth absent between the lovers, highlighting something inherent wrong in their relationship. Having anonymous threats made to Niccola also didn't help, as he experienced first hand how these threats got carried out to hurt those he loved. We spend a bit of time with their attempts to escape from a stalker, and even had a technically brilliant sequence involving a deep mist that I thought contemporary movies like Frank Darabont's The Mist, or the video game movie adaptation of Shallow Hill, had taken a huge leaf from.For Niccolo's inability to declare his love and address their conflicts, we get a dose of L'Avventura here. Mavi disappears, and we don't really get to see much of her thereafter. Niccolo tries to launch a search, and we get into the second half of the movie where we see his new relationship with a young actress Ida (Christine Boisson). But of course there are issues to grapple with here, and I thought was something I'd understand as well, and that's the continued holding out of the candle for someone else, together with the notion of love versus need, and serving as an emotional crutch. It's not fair of course, but there's more challenges ahead for Niccola in his relationship with Ida to accept, but by the time we get to it, I'd more or less didn't really care for Niccola anymore.Which probably contrasted to a statement which Lorenzo Codelli shared about what Antonioni said regarding this movie being about its characters. I thought his earlier movies had stronger and more interesting characters, or at least those who can hook my attention down and allowed me to care for them a bit, versus those in this movie. Then again, I suspect I may be on a different wavelength since I enjoyed most of Antonioni's earliest works in the 50s, as compared to the more contemporary ones shown this week so far.

SandyBates I can understand why this film has received 10/10 - it's excellent.Perhaps the most surprising element is the ending - it's in such strong contrast to the rest of the film, that it is akin to a psychological 'splitting off' by the main character, Niccolo. As he gazes into his own imaginary world, he experiences, in imagined dialogue with his nephew, a scenario from a film he may direct - a spaceship flies towards the sun, which appears to explode or expand, and fantasises about receiving the answers 'to so many things'.It links in with the 'sun expanding' headline glimpsed from a newspaper earlier in the film, and works well for this ground being set for it.I cannot decided whether this ending is bleak or hopeful - whether he escapes into a world of fantasy because of his inability to face up to the pain involved in looking at his impotence in resolving the relationship issues in his life; or whether it is a transcendental ending, in which he uses his situation to plunge into a creative world.It's this ambiguity (and lack of didactic intent from Antonioni) which gives the film its quality and power.

Mark Hudson Possibly the most atmospheric film I ever seen, it made a huge impact when I first saw it, and that opinion has never changed. If there is one film that conveys the mystery of life this is it. It is also a highly evocative picture of Italy from the perspective of the upper middle classes in the late Seventies. Crying out for a DVD release as the photography was excellent too on the original film showings.

Xanadu-2 A very beautiful film with that special Antonioni atmosphere. I can identify with the feeling of emptiness and the people who can´t really communicate with each other. Modern life and adulthood seems shallow and a bit soulless. You have to fill it with something and make it human again.The first time I saw it I was disapointed but it improved greatly with the second viewing and I want to see it again. There are new things to discover each time as with all of Antonionis´ films.