«Όταν δεν έχω τι να κάνω, αρχίζω να κοιτάζω. Όμως αυτό το βλέμμα προς τα πρόσωπα και τα πράγματα απαιτεί μια τεχνική. Κι εγώ έχω τη δική μου». Στα τριάντα τρία αφηγήματα του "Μπόουλινγκ πάνω στον Τίβερη" -ιδέες για ταινίες που δεν έγιναν, πυρήνες ιστοριών που δεν ολοκληρώθηκαν- ο αναγνώστης θα ξαναβρεί τα γνώριμα στοιχεία του αντονιονικού σύμπαντος: τα πάθη που κρύβονται πίσω απ' τα τείχη της καθημερινής ρουτίνας, έρωτες δίχως τέλος, που όμως δεν υπήρξαν ποτέ, την έμμονη ιδέα του θανάτου, τα μισοτελειωμένα ταξίδια μέσα σε τέσσερις τοίχους. Όπως λέει κι ο ίδιος έχει πάντα την ανάγκη να αποτυπώνει την πραγματικότητα με έννοιες που δεν είναι ποτέ εντελώς ρεαλιστικές....
Film historian Virginia Wright Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual." In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness". He said his films explore the paradox that "we have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones."Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."
One of the recurring themes in Antonioni's films is characters who suffer from ennui and whose lives are empty and purposeless aside from the gratification of pleasure or the pursuit of material wealth. Film historian David Bordwell writes that in his films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost."Antonioni's films tend to have spare plots and dialogue, and much of the screen time is spent lingering on certain settings, such as the seven-minute continuous take in The Passenger, or the scene in L'Eclisse in which Monica Vitti stares curiously at electrical posts accompanied by ambient sounds of wires clanking. Virginia Wright Wexman summarizes his style in the following terms: "The camera is placed at a medium distance more often than close in, frequently moving slowly; the shots are permitted to extend uninterrupted by cutting. Thus each image is more complex, containing more information than it would in a style in which a smaller area is framed ... In Antonioni's work we must regard his images at length; he forces our full attention by continuing the shot long after others would cut away."Antonioni is also noted for exploiting colour as a significant expressive element of his cinematic style, especially in Il deserto rosso, his first colour film.
Film historian Virginia Wright Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual." In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness". He said his films explore the paradox that "we have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones."Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."
One of the recurring themes in Antonioni's films is characters who suffer from ennui and whose lives are empty and purposeless aside from the gratification of pleasure or the pursuit of material wealth. Film historian David Bordwell writes that in his films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost."Antonioni's films tend to have spare plots and dialogue, and much of the screen time is spent lingering on certain settings, such as the seven-minute continuous take in The Passenger, or the scene in L'Eclisse in which Monica Vitti stares curiously at electrical posts accompanied by ambient sounds of wires clanking. Virginia Wright Wexman summarizes his style in the following terms: "The camera is placed at a medium distance more often than close in, frequently moving slowly; the shots are permitted to extend uninterrupted by cutting. Thus each image is more complex, containing more information than it would in a style in which a smaller area is framed ... In Antonioni's work we must regard his images at length; he forces our full attention by continuing the shot long after others would cut away."Antonioni is also noted for exploiting colour as a significant expressive element of his cinematic style, especially in Il deserto rosso, his first colour film.
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