A bleak and desolate film, directed by Michelangelo Antonioni with an eye to the emotive powers of the barren landscape.
Il Grido (1957)
Tomatometer
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Reviews Counted:10
Fresh:8
Rotten:2
Average Rating:7.5/10
Runtime: 1 hr 56 mins
Genre: Foreign Films
Synopsis: Some men wait years for their chance to experience true love, only to be crushed by betrayal. Such is the case with refinery mechanic Aldo, who works in a countryside villa in Italy. He rents... Some men wait years for their chance to experience true love, only to be crushed by betrayal. Such is the case with refinery mechanic Aldo, who works in a countryside villa in Italy. He rents a room in the house of Irma, his lover of seven years. Though Irma is married to someone else, she and Aldo have a daughter. One day word reaches Irma that her husband has died while in Australia. Aldo seizes the opportunity to propose to her. But Irma has another lover who she has kept secret from both her husband and Aldo. Distressed, Aldo, with his daughter in tow, hits the road in a succession of meaningless affairs and escapades. Aldo cannot get Irma off his mind, so returns home to her -- only to find she has commenced a new life without him. [More]
Starring: Steve Cochran, Alida Valli, Dorian Gray, Betsy Blair
Starring: Steve Cochran, Alida Valli, Dorian Gray, Betsy Blair, Gabriella Pallotta
Director: Michelangelo Antonioni
Director: Michelangelo Antonioni
Screenwriter: Ennio De Concini, Michelangelo Antonioni
Reviews for Il Grido
The camera's spare, stunning compositions and the tone of loss and disaffection anticipate Antonioni's later, brilliant explorations of bourgeois anomie.
The two American actors, Cochran and Blair, seem to lack any understanding of the director's methods and deliver the least satisfying performances to be found in any Antonioni film.
A fairly lucid story that puts no undue strain on a viewer's imagination or intellect.
The beautifully desolate cinematography is rich in its gray color palette.
If Antonioni's assuredness isn't yet in place, Il Grido remains a key transitional work, with remarkable photography, fluid camerawork, and a typically unforgettable finale ranking among its most notable virtues.
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