Let’s talk Antonioni films and scores….or lack thereof
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This was actually the title of an old FSM thread of mine, but rather than putting it into the running FSM thread series, I thought I’d just do a more open version – to see if anyone here actually has any relationship whatsoever to Michelangelo Antonioni and the scores of his films? If not, there’s little to chat about.
He’s my third favourite filmmaker of all time (me and my rankings, you know…).
I’ve seen a number of Antonioni films, but I can’t say I was really taken by any of them. I know he has his proponents, and that’s fine. The two movies I like most are BLOW UP and THE PASSENGER, but neither film is one I have ever revisited, so I don’t seem to care all that much. I think all Antonioni movies I ever saw I saw in my teens, and then gave up on him, so maybe I might feel differently about (some of) them if I ever watched them now, who knows.
Fair enough.
PROFESSIONE: REPORTER (THE PASSENGER) was really my way into Antonioni, via Jack Nicholson, so it will always be one of my favourite films by him. Also really the only time he flirted with a thriller genre as such (although there are psychological thriller elements in several of his other films as well, of course, including BLOW UP).
His choice of music IDENTIFICATION OF A WOMAN is indeed interesting. Score by John Foxx, and songs by TD, Baumann. Steve Hillage, OMD and Japan.
I know the name but not familiar with the movies at all… I for sure know BLOW UP – and the cool groovy score by Herbie Hancock – but have to admit I even wasn’t aware that Antonioni is the director…
His choice of music IDENTIFICATION OF A WOMAN is indeed interesting. Score by John Foxx, and songs by TD, Baumann. Steve Hillage, OMD and Japan.
IDENTIFICAZIONE DI UNA DONNA is such an underrated film, I think. Made after his “golden period”, but still with his trademarks in place. I love the Foxx score and the songs, but I don’t think there ever was a soundtrack album?
You should! I have the Sony DVD from 2003, which includes something as rare as a Jack Nicholson audio commentary. It’s fascinating to listen to. He very rarely gives interviews, so it becomes a rare glimpse into the mind of my favourite actor. It’s one of the few films where the director managed to be so all-powerful, he toned down Nicholson’s performance to suit the narrative. The sheer existential crisis his character experiences in the desert at the beginning of the film, is a masterclass in subdued intensity.
I like Deadpool films, okay? And Bond films, superheroes and gialli, and even enjoy the Carry On series. But I also like Fellini and Pasolini, Bergman and Leos Carax, Petri and Melville. But until a couple of years ago I’d never even seen an Antonioni film.
Then, whilst staying with family in Greenwich, I saw Blow Up in a shop window on DVD for £6. Nothing to lose, I thought, after realising that it wasn’t the one with John Travolta. Thus began my love affair with Antonioni. On first viewing, I was a bit confused. Why are those photos different from Hemmings’s actual point of view? What’s with the “dumb” tennis?
Then it all clicked when I realised that this fellow isn’t like other filmmakers.
And I bought L’Eclisse, L’Avventura, La Notte, The Red Desert, The Passenger and maybe my favourite, Identification of a Woman. Each of them deserves a separate volume of analysis, and I’m sure that even after two or three viewings of each, I haven’t scratched the surface. I’m not sure how he chose his various composers, but imagine that he familiarised himself with their talents and chose whichever he thought best suited to the film in hand. Generally the music is pretty sparse, and has to be considered as just one element of the total soundscape, which he seems to have managed as carefully as his camera angles. I’d need further viewings to get a grip on his use of music, but I have to be in the mood to watch one of his films because of the investment in time and concentration needed, which I don’t always have.
When I do, however, I really, really love them.
As I said, maybe I might feel differently about Antonioni nowadays; last time I saw one of his movies I must have been 18 or 19. I thought BLOW UP and THE PASSENGER (which I saw when I was 16) had definitely interesting image and sound combinations, I liked that, but I was never sure what the f&$$ kind of a story Antonioni was trying to tell, and if he wasn’t trying to tell a story (fair enough, I know some great movies that aren’t out to tell a story), what else he was up to. But I concede it may have been my immaturity.
I once started watching Zabriskie Point on TV, was quickly bored and stopped.
That was it with me and Antonioni.I’m not sure how he chose his various composers, but imagine that he familiarised himself with their talents and chose whichever he thought best suited to the film in hand. Generally the music is pretty sparse, and has to be considered as just one element of the total soundscape, which he seems to have managed as carefully as his camera angles.
True, but there’s actually a considerable amount of music in many of his films, especially in all the Giovanni Fusco collaborations. And most of it is rather tonal and accessible. Then he took a left turn now and then with the sound designy Gaslini score for LA NOTTE or the pop/rock/jazz music in films like BLOW UP, IDENTIFICAZIONE DI UNA DONA, ZABRISKIE POINT etc. If you don’t already own it, this album is recommended:
I once started watching Zabriskie Point on TV, was quickly bored and stopped.
That was it with me and Antonioni.Sorry to hear it. His “deconstruction” of the USA in that actually makes it one of his lighter, more amusing films, I think. And the Pink Floyd music is excellent (less enthused with the Jerry Garcia).
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