L&#39; Avventura [Edizione: Regno Unito] [ITA] [Edizione: Regno Unito]

Un film meraviglioso grazie alla bravura di Michelangelo Antonioni e la recitazione straordinaria di Monica Vitti.

ottimo, ma esoso per un dvd

sergio pellicani

Recensito in Italia il 10 novembre 2023

ottimo, esoso per un dvd

Una persona l'ha trovato utile

Una Gemma - Un Must per ogni Cinefilo che si rispetti

Francesco_35

Recensito in Italia il 28 dicembre 2016

Dopo L'Avventura tutto cambia

Primo Capitolo della Trilogia dell'Incomunicabilità di Michelangelo Antonioni, proseguita poi con La Notte (1961) e conclusasi con L'Eclisse (1962). Martin Scorsese parlando de L'Avventura esclamò: "It’s difficult to think of a film that has a more powerful understanding of the way that people are bound to the world around them, by what they see and touch and taste and hear. I realize that L’Avventura is supposed to be about characters who are ‘alienated’ from their surroundings, but that word has been used so often to describe this film and Antonioni’s films in general that it more or less shuts down thought.”
Un film sulle relazioni umane, sulla debolezza e sulla fragilità degli uomini che si spingono al limite rinnegando la propria natura pur di assecondare i propri desideri. Un film dannatamente cattivo, con una sequenza finale che lascia l'amaro in bocca.
Consigliata vivamente l'edizione in Bluray della Criterion, curatissima e pregevolissima (e per un film del genere è quasi un obbligo).

8 persone l'hanno trovato utile

Raffaele Cassese

Omaggio a Monica Vitti

Recensito in Italia il 10 febbraio 2022

il film ha un fascino notevole, grazie ad uno splendido bianco e all'ambientazione siciliana : dalla natura selvaggia delle isolette allo splendore di Noto, al lusso dell'Hotel San Domenico di Taormina. Le situazioni rappresentate sono più che mai attuali. Capisco lo sconcerto che dovettero provocare all'epoca. Sulla bravura di tutti gli interpreti non si discute.

2 persone l'hanno trovato utile

Straordinario film, straordinario blu-ray Criterion, zona B .

Cineriz

Recensito in Italia il 22 ottobre 2020

Edizione blu-ray perfetta per la qualità video e anche audio. Capolavoro assoluto riversato in modo impeccabile , tutto è reso ottimamente. Segnalo che dalla traccia audio italiana si possono escludere i sottotitoli inglesi , sono opzionali. La qualità video, come dicevo, è straordinaria, il bianco e nero del film risplende meravigliosamente. Tra gli extra il commento audio in inglese , non sottotitolato. Molto interessante, come extra ,anche un documentario su Antonioni di Gianfranco Mingozzi. Un blu-ray Criterion Collection in zona B che vale sicuramente per il costo che ha . CONSIGLIATO a tutti !!! Servizio Amazon sempre perfetto.

3 persone l'hanno trovato utile

LAURA

Capolavoro

Recensito in Italia il 7 febbraio 2022

Infinito capolavoro del cinema mondiale del genio irripetibile di Antonioni. Ci svela poi la bellezza segreta e misteriosa delle isole Eolie.

Una persona l'ha trovato utile

L'avventura film Antonioni

Francesca

Recensito in Italia il 12 febbraio 2022

Bel film di Antonioni con una Monica Vitti agli esordi cinematografici ma già grande.

Una persona l'ha trovato utile

Antonio

Monica Vitti

Recensito in Italia il 24 ottobre 2019

Uno dei film più belli, come innamorarsi ancora e ancora di Monica Vitti ♥️♥️♥️

2 persone l'hanno trovato utile

Traduci tutte le recensioni in Italiano

Le recensioni migliori da altri paesi

燕の巣

愛の不毛三部作

Recensito in Giappone il 12 novembre 2017

稀代の名女優、モニカ・ヴィッティのデビュー作

主演男優のサンドロ役、フェルツェッティがオンナ好きの冴えない役柄
行方不明になった元カノのアンナとの絡みに始まり、見知らぬ女との絡みで終る
三部作と称されるが、アラン・ドロンなら違った展開だったなと、考えさせられた

冴えないオトコと良いオンナとの関係が、不毛の愛で終る
難解な作品が多いとされるアントニオーニ監督だが、これはこれで解り易い

モノクロ映像だが、半世紀経っても色褪せない、古き良きイタリア映画だと感じさせる作品

Una persona l'ha trovato utile

Ron McKercher

5 Star

Recensito in Canada il 19 giugno 2016

Haven't watched the film yet, but have seen the other two movies in this series. If this one is anything like the others, it will be stupendous!!

gabrielle51

Worth the Effort

Recensito negli Stati Uniti il 24 maggio 2007

Filmgoers seem to either love L'Avventura or hate it. This picture is difficult. Michelangelo Antonioni challenges us. We are forced to work, to have patience, and, most difficult of all, to accept uncertainty. He does not provide us with a groovy soundtrack to compensate for cinematic deficiencies or satisfy the modern movie audience's expectations of full sensory overload. L'Avventura is meant to be watched, really watched. And, in fact, Gene Youngblood, the film critic who supplies the commentary, refers to the protagonist, Claudia, as "the witness." As the viewers we then witness Claudia witnessing the world around her. She is also the only character in the film who sees anything outside of herself, be it art, architecture, landscape, or the fact that her friend, Anna, goes missing on a yachting cruise off the coast of Lisca Bianca, one of the Aeolian islands. She is the only one who cries over the incident. From the second we learn of Anna's disappearance, the plot of L'Avventura seems to be established. With the exception of Claudia, the other crew members make half-hearted attempts to find Anna, but it is obvious they have better things to do because they are rich and have places to go and people to see. It is this indifference that throws the viewer off course, and as the film unfolds we learn that L'Avventura is about something else entirely. Actually the film is about many things, which won't be revealed here.

Michelangelo Antonioni is a Zen-like director in that he depicts life as it is with all its contradictions, simple yet complex, soothing and disturbing, an adventure and a bore, beautiful but lonely. He does not spare us. Even though L'Avventura focuses on a group of wealthy so-called friends, the human condition is the human condition regardless of how much money one has. The major difference, and what Antonioni might be trying to convey, is that those with money can buy diversions, a yacht, an Alfa Romeo, a villa. And since these same people do not work they are forced to buy time. Casual sex buys time, as well as endless parties and fancy dinners. The point is that the more distractions one has the easier it is to bury the inevitable pain of loss, betrayal, fear, loneliness, to name but a few, that are a part of life. However, the pain is still there for these people and maybe even more intensely, given the fact that all they have is a lot of toys but no genuine relationships, passion or meaning in their lives.

Gene Youngblood, mentioned earlier, is wonderful as the commentator. He is enlightening and unpretentious. He admits to having seen L'Avventura twelve times in 1961, so he knows his subject. And his love for this film is contagious. For those who have had or are having trouble with the picture, it is recommended to try watching again with the commentary.

The second disc contains testimonials from people who have known Antonioni and/or worked with him, so the viewer can gain further insight into the director's ideas, what he tried to say through his captivating images, and simply learn more about the man himself. There is also a brief segment on the restoration of the film, which is interesting even for technophobes like myself. Thankfully there are people with the skill and patience to take on this arduous process. How sad it would be to lose such an innovative and exquisite film. Buy this gem as soon as possible.

14 persone l'hanno trovato utile

Shack

Michelangelo Antonioni - L'avventura

Recensito in Germania il 21 maggio 2010

Bei der Premierenvorführung in Cannes wurde Michelangelo Antonionis "L'avventura" 1960 ausgebuht. Aus heutiger Sicht erscheint das grotesk, immerhin haben wir es hier mit einem (nicht nur) für das europäische Kino absolut bahnbrechenden Werk zu tun. Und doch andererseits auch nachvollziehbar, denn tatsächlich mutet der Film seinen Zuschauern einiges zu.

Wo Hitchcock im zeitgleich entstandenen "Psycho" Neuland betrat, indem er seine vermeintliche Hauptdarstellerin Janet Leigh schon in der ersten Filmhälfte sterben ließ, geht Antonioni noch einen Schritt weiter. Bei ihm ist die anfangs zentrale Figur Anna (Lea Massari) auf einer geselligen Bootstour plötzlich spurlos verschwunden, vom Regisseur einfach so, ohne weitere Erkärung aus dem Geschehen genommen. Bei der gemeinsamen Suche nach der Vermissten kommen sich ihr Verlobter Sandro (Gabriele Ferzetti) und die beste Freundin Claudia (Monica Vitti) bald näher. Gleichzeitig schwindet ihre Motivation zusehends, die Suchaktion verläuft sich im Nirgendwo und schon bald ist Anna völlig vergessen - gerade so als hätte sie nie existiert.

Natürlich ist Antonioni völlig desinteressiert an einem logischen Handlungsaufbau, sein Augenmerk gilt der Suche nach den Restspuren von Gefühlen in einer gefühllos gewordenen Welt. Und er ist ein wahrer Meister der indirekten Mitteilung: fast wortlos kommuniziert er seine Diagnose - durch Landschaften, Architekturen und beiläufig eingefangene Alltagsbelanglosigkeiten. "L'avventura" ist von einer Stimmung der Leere, der Ziellosigkeit und des Unbehagens durchzogen, der man sich auch als Zuschauer irgendwann nicht mehr entziehen kann. Doch das ist durchaus gewollt: diesen Film muss man fühlen, um ihn zu verstehen.

28 persone l'hanno trovato utile

technoguy

L'Avventura

Recensito nel Regno Unito il 12 maggio 2009

The first in a trilogy of films about couples in a crisis, L'Avventura takes place in an Italy enjoying an economic boom. The couple in L'Avventura is made up of Monica Vitti and Gabrielle Ferzetti. Sandro (Ferzetti) is an architect ,an intellectual, as in all three films, with the story of the same couple almost. An event, the loss of Sandro's mistress(Anna),while out on islands of Aeolia,north of Sicily, precedes the coming together of Claudia (Vitti) and Sandro as new lovers. The sense of alienation and existentialist absurdity are captured by the framing of the scenes and the sense of drawn out time, and the way black and white contrasts play out over a range of greys. Feelings of love that have been around for thousands of years do not find easy accommodation in a consumerist world. The ancient vase that is found becomes broken, old fine buildings are made into a police station. All the characters look a bit lost, with the loss of middle class values. People do not relate easily to each other nor live their love affairs. Beyond the narrative, the framing captures the visual poetry of loss, the way empty spaces emerge through his compositions, the way he places actors in disharmony with their environments. His camera probes the trace of the loss on the couple's actions, within an in-between space,where things, people, close to emptiness, are about to change or events are about to turn, in this void or absence. Moving from frame to frame brings out a sense of uneasy vigilance and instability in the audience, viewing a world where feelings are adrift, where something(not nothing) is always happening on screen. His major innovation is a way of looking at things in the world. He explores states of feeling and breakdowns in communication, emptiness, alertness, vacancy,heightened awareness of others and oneself. We see bodies moving in space and a perception of the world no longer determined by a narrative framework. The thing filmed is the initial situation of loss and the echo of that loss. All Antonioni is filming(and why his films are hard to define) is what comes afterwards,the trace that's left behind. Truly a masterwork Seeing the world with new meaning.

11 persone l'hanno trovato utile