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Film Format: 
Antonioni, Michelangelo
Monica Vitti, Alain Delon, Francisco Rabal
Director of Photography :Gianni Di Venanzo Script: Michelangelo Antonioni Tonino Guerra Elio Bartolini Ottiero Ottieri
Film Reviews: 

The conclusion of Michelangelo Antonioni's loose trilogy (preceded by L'Avventura and La Notte), this 1961 film is conceivably the best in Antonioni's career, but significantly it has the least consequential plot. A sometime translator (Monica Vitti) recovering from an unhappy love affair briefly links up with a stockbroker (Alain Delon) in Rome, though the stunning final montage sequence—perhaps the most powerful thing Antonioni has ever done—does without these characters entirely. Alternately an essay and a prose poem about the contemporary world in which the “love story” figures as one of many motifs, this is remarkable both for its visual/atmospheric richness and its polyphonic and polyrhythmic mise en scene (Antonioni's handling of crowds at the Roman stock exchange is never less than amazing). In Italian with subtitles. 123 min.Review by Jonathan Rosenbaum, The Chicago Reader.

Vittoria (Monica Vitti) breaks one affair and starts another with a high flying investment broker (Delon), which runs its course.
The culmination of his early 60s trilogy ( with L Avventura and La Notte), L'Eclisse is a masterpiece of emotional frustration and modern capitalist malaise. The Bourse scenes, once regarded as obscure and important, in 2009 seem an impressive presentiment of doom.
Antonioni's camera is in absolute awe of the rich, harmonious beauty of the destructive social patterns of behaviour to which it is witness. He doesn't apologize for finding beauty in this, since to him, it is truth. it highlights his unwillingness to moralise.
What of the last scene, a justly famous, exquisitely edited preamble to the rendezvous of the two lovers. The camera suggests what they might have seen if they bothered to turn up - the climax!
is this a joke about actors? no, If they turned up they would have been too pre-occupied to see anything outside of themselves.

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