Le Amiche (1955)
Average Rating: 8.5/10
Reviews Counted: 13
Fresh: 13 | Rotten: 0
No consensus yet.
Average Rating: 8.4/10
Critic Reviews: 5
Fresh: 5 | Rotten: 0
No consensus yet.
Average Rating: 3.6/5
User Ratings: 624
Roman couturier Clelia (Eleonora Rossi-Drago) leaves the big city to work at a boutique in Turin. She moves into a hotel and makes several new friends, but is soon drawn into their extremely unpleasant lives. Clelia enters a doomed relationship with a poor architect's assistant (Ettore Manni), sees her new best friend Rosetta (Madeleine Fischer) commit suicide after being jilted by her married lover (Gabriele Ferzetti), and is eventually fired from her new job when her hysteria over Rosetta's
Jan 1, 1955 Limited
Aug 7, 2001
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Antonioni's ability to use the screen's illusion of depth or the way he lends an eloquence to the space between characters is a marvel. How he has these people stand is so much more expressive than anything they say.
The expressive elegance of Antonioni's camera movements -- the way he glides around a scene, composing and recomposing the human figures within it to suggest psychological patterns and unacknowledged erotic connections -- still has the power to amaze.
Long before the he put Monica Vitti through the existentialist-ennui wringer, Michelangelo Antonioni gave the world this muted melodrama about urban females dealing with boorish men, banal modern life and the occasional suicide attempt.
Though seldom seen now, Antonioni's fourth feature is one of his greatest films, in which diverse plot strands, character psychology, and a masterful control of the camera are perfectly fused.
Fortunately, relief for the navel-gazing conversations comes in the actual film craft -- photography, production design, music, control of pace and tone -- which reveals Antonioni's blossoming mastery.
Lovers of the great Italian filmmaker Michelangelo Antonioni have cause to rejoice with this new-print revival of his best pre-L'avventura feature.
plays like the haunting island-search centerpiece in L'Avventura in gestation
An Antonioni film will frequently pose a riddle, and then never answer it; here the mystery of why Rosetta tries to kill herself becomes a pretense for the rest of the film.
Without relying too heavily upon plot or story development, Antonioni delves deep beneath the exteriors of his characters to explore their mental makeup.
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