19. "Red Desert (Antonioni, 1964)" In response to In response to 0
Antonioni does some interesting work with color here, his first feature using the medium. to start is a monochrome look, in color but dulled to the point of the blandest sepia (the lost, indifferent state Monica Vitti begins the film in). that transitions into sharp reds, where the attraction between Vitti and Richard Harris reaches its apex, then even stronger blues, which mark a sort of longing and depression. at the end is a muted white, as both a resolution and resignation.
however, aside from the many scenes that ended with a question (which I loved; asking said more than any answer), most of the dialogue felt less poetic or interesting than other Antonioni films. the anti-industrial motif seemed thinner as well, leaving me a bit cold to this one overall.