Michelangelo Antonioni

Highest Rated: 100% Red Desert (1964)
Lowest Rated: 34% Eros (2004)
Birthday: Sep 29, 1912
Birthplace: Ferrara, Emilia-Romagna, Italy
Italian filmmaker Michelangelo Antonioni redefined the concept of narrative cinema, challenging the accepted notions at the heart of storytelling, realism, drama, and the world at large; his films -- a seminal body of enigmatic and intricate mood pieces -- rejected action in favor of contemplation, championing image and design over character and story. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities; in Antonioni's world, riddles were not answered, but simply evaporated into other riddles. Antonioni was born on September 29, 1912, in Ferrara, Italy; as a child, his interests included painting and building architectural models. After graduating high school, he attended the University of Bologna. While he was at college, his interest in the theater blossomed, and he also began writing short fiction and film reviews for a local newspaper, Il Corriere Padano, often running afoul of the motion-picture community for his savage attacks on the mainstream Italian comedies of the 1930s. Antonioni's initial attempt at filmmaking was a documentary profiling a nearby insane asylum; the project was aborted because the inmates would lapse into fits of panic each time the lights of the camera were turned on.By 1939, Antonioni had chosen the cinema as his life's work, and relocated to Rome, where he accepted a position at Cinema, the official Fascist film magazine edited by Mussolini's son, Vittorio. After being dismissed over a political disagreement, Antonioni enrolled at the Centre Sperimentale to study film technique. By age 30, he was working professionally in the film industry; his first screenplay went unproduced, but he was soon hired to co-write Roberto Rossellini's Un Pilota Ritorna, followed by a stint as the assistant director to Enrico Fulchignoni on I Due Foscari. In 1942, Antonioni traveled to France to work with Marcel Carné on Les Visiteurs du Soir. Antonioni was soon called back to Italy for military service, where he managed to wrangle funding from the Luce Institute for Gente del Po, a documentary portrait of the impoverished lives of the fishermen along the Po River.The Allied invasion of Italy brought film production there to an end for some time, forcing Antonioni to earn his living as a book translator. Additionally, he was commissioned by Luchino Visconti to write a pair of screenplays, Furore and The Trial of Maria Tarnowska, neither of which was ever produced. In 1948, Antonioni was able to return behind the camera, and over the course of the next two years he directed no less than six documentary shorts; among them, Nettezza Urbana, L'Amorosa Menzogna, and Superstizione hinted most strongly at the work still to come.After completing the short subject La Villa dei Mostri, Antonioni was able to secure financing for his 1950 feature debut, Cronaca di un Amore. He turned away from neo-realism, employing professional actors and focusing on interpersonal relationships instead of social criticism. The film further developed his increasingly unique visual aesthetic, honing a rigorously disciplined brand of "anti-cinema," favoring long, deep-focus shots in opposition not only to the gritty, newsreel-like feel of the neo-realists but even the montage dynamic perfected by Sergei Eisenstein. With Cronaca di un Amore, Antonioni first moved into a realm of film previously explored only by the likes of Carl Dreyer and Robert Bresson, a form of interior cinema concerned far less with the body than with the soul, and less by the actual arc of his plot than by the characters' reactions to it. In 1952, he collaborated with Federico Fellini on the script to Lo Sceicco Bianco, followed by a directing assignment helming an episode of the triptych I Vinti. Antonioni did not mount another feature-length project until 1953 with La Signora Senza Camelie. The film received virtually no notice, and was barely even screened outside of Italy; Antonioni spent the next several years in relative seclus

Highest Rated Movies

Filmography

MOVIES

CREDIT
No Score Yet Kumbha Mela Director 2014
No Score Yet Fare un film per me è vivere (To Make a Film Is to Be Alive) Actor 2010
No Score Yet Antonioni Su Antonioni Actor 2010
34% Eros Screenwriter $54.2K 2004
No Score Yet Sguardo di Michelangelo Director Actor 2004
No Score Yet Michelangelo Eye To Eye (Lo Sguardo DI Michelangelo) Director 2003
No Score Yet Sicilia Director 1997
67% Beyond the Clouds Screenwriter Director 1995
No Score Yet 12 registi per 12 città Director 1989
No Score Yet Room 666 (Chambre 666) Actor 1985
57% Identificazione di una donna (Identification of a Woman) Screenwriter Director 1982
56% The Mystery of Oberwald (Il Mistero di Oberwald) Director Screenwriter 1981
91% Professione: reporter (The Passenger) Director Screenwriter $0.5M 1975
No Score Yet Chung Kuo Cina Screenwriter Director Narrator 1972
67% Zabriskie Point Director Screenwriter 1970
87% Blow-Up Screenwriter Director 1966
100% Red Desert Screenwriter Director 1964
92% L'Eclisse Screenwriter Director 1962
82% La Notte Director $39.7K 1961
95% L'Avventura Screenwriter Director 1960
82% Il Grido (The Cry) Director Screenwriter 1957
No Score Yet L'Amore in città (Love in the City) Director Screenwriter 1956
100% Le amiche Director 1955
100% I Vinti, (Youth and Perversion) (The Vanquished) Screenwriter 1953
88% La Signora Senza Camelie Screenwriter Director 1953
100% Lo sceicco bianco (The White Sheik) Screenwriter 1952
91% Story of a Love Affair (Cronaca di un amore) Director 1950
No Score Yet N.U. Director 1948
No Score Yet People of the Po Valley (Gente del Po) Director 1947

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