Michelangelo Antonioni - Rotten Tomatoes

Michelangelo Antonioni

Highest Rated:   100% Red Desert (1964)
Lowest Rated:   34% Eros (2004)
Birthday:  
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

RATING TITLE CREDIT BOX OFFICE YEAR
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
65% 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
62% 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)
  • Screenwriter
  • Director
$0.5M 1975
No Score Yet Chung Kuo Cina
  • Screenwriter
  • Director
  • Narrator
1972
67% Zabriskie Point
  • Director
  • Screenwriter
1970
86% Blow-Up
  • Screenwriter
  • Director
1966
100% Red Desert
  • Screenwriter
  • Director
1964
92% L'Eclisse
  • Screenwriter
  • Director
1962
81% La Notte
  • Director
$39.7k 1961
95% L'Avventura
  • Screenwriter
  • Director
1960
80% 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
90% 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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