MICHELANGELO ANTONIONI“I think the men of the cinema should always be connected, as inspiration, in their time. Not so much to express it in its most raw and most tragic events, how to collect the resonances within himself.” From his first feature film, Story of a Love (1950) to the more recenteEros (2004), Michelangelo Antonioni was strictly inspired by the reality of his time to fathom conflicts and suspensions, psychology and feelings of the protagonists of his films.
Born in Ferrara September 29, 1912, after attending the gymnasium and the Technical Institute, graduated in Economics and Commerce, in Bologna. While at university, he is interested in theater, and with a group of friends staged Chekhov, Ibsen and Pirandello. At the same time works as a film critic for Corriere Padano, the newspaper of Ferrara. In 1940 he decided to move to Rome to approach the world of cinema. It has already tried his hand behind the camera, a 16 mm Bell and Owell, when he tried to make a documentary in a mental hospital in his city. The reaction shocking and unexpected ill prevented him from shooting, but he Serber long the memory of those moments. In Rome joined the editorial staff of the magazine Cinema, he enrolled at the Experimental Centre of Cinematography in 1942 and collaborated on the writing of A Pilot Returns (Roberto Rossellini, 1942). When Scalera Film sent him to France to work as an assistant director Marcel Carné (for Love and the Devil, 1942), is located in front of a man who greets him with a barely concealed suspicion. He returned to Italy to begin shooting his first documentary, People of the Po (1947), completed after the end of the war. Continues his work as a screenwriter (Hunting tragic, Giuseppe De Santis, 1946) and Luchino Visconti along with working on two projects that fail to be realized. He’s 38 years old when he completed his first film (Story of a Love, 1950), by Lucia Bosé and Massimo Girotti, portrait of the Milanese bourgeoisie that is welcomed by critics and the public. Later, when the producers presented his projects, is already considered a difficult director, of uncertain outcome at the box office. For The Lady Without Camelias (1953) would take a pop at Cinecitta, a brunette with beautiful eyes, but producers insist on a name that is already proven to Lucia Bosé, which does not seem comfortable in that role. The appearance is called Sofia Scicolone and many years later, when it became the great Sophia Loren, meditate several times with him, not that time to recover.
In the 50s must overcome all kinds of difficulties and repeated problems with censorship. In this climate directs the losers (1952), The Girlfriends (1955), The Scream (1957) and The Adventure (1960), which won the Special Jury Prize at the Cannes Festivaldi. The film, the first one that goes with Monica Vitti which will remain romantically linked for many years, is greeted in France with great enthusiasm and allows him to achieve the night (1961) and L’Eclisse (1962), which imposes itself definitively to international level.
Renamed as the director of alienation and lack of understanding (even Dino Risi, by the mouth of Gassman, can not resist the temptation to remember, Overtaking, 1962), in 1964 abandoned the black and white and switches to color to tell the anxieties of Juliana, wife unsatisfied and unhappy adulterous (red Desert, 1964).
In the mid-60s crosses national borders to pursue, once again, the reality of his time. Moves in England, in swinging London of the hippies and the first mini-skirts, with the intention of photographing a story with undefined boundaries (Blow-up, 1966) and then moved to the United States behind the traces of the youth protest American (Zabriskie Point , 1970), which captures ‘explosion’ of consumer society in the light of 17 cameras. The final sequence of Profession: reporter (1974), however, takes it up while holding a very special camera for seven minutes, after that in China they just banned perChung Kuo, China (1972), a four-hour documentary on mainland China.
And ‘him to make the first experiment of electronic cinema in Italy (The Mystery of Oberwald, 1979), yet after Identification of a Woman (1982), despite being considered one of the most distinguished and influential of world cinema, its projects meet still many difficulties. Meanwhile feeds other interests. He wrote a short story collection bowling That the Tiber, published in 1983 by Einaudi. Continue to cultivate a passion for painting and sueMontagne charming, eighty small paintings are on display in an exhibition at the Correr Museum in Venice.
Later runs a commercial for Renault and produces a video for a song by Gianna Nannini, Fotoromanza. In 1985, when he finally is going to direct a film based on his story, the disease catches him and forces him to a forced inactivity. With the help and love of his wife Enrica Fico fails to work again. Together with her meets Wim Wenders, his Ferrara and a host of great actors with which hovers Beyond the Clouds (1995). After completing eighty years has reappeared on the set to shoot one of the three episodes that make up the film Eros (the two traveling companions of this new adventure are two new masters of cinema, Steven Soderbergh and Wong Kar-Wai).
On 30 July 2007, died at the age of 85 years.