Red Desert

In its day, Red Desert was rightly considered a cinematic tour de force. But unlike the printed word--which hasn't changed a great deal since Shakespeare--film has evolved in leaps and bounds over its short history. Which means that unless the story is a good one, technical wizardry alone won't save it for posterity. The plot is a one-noter: Giuliana (Monica Vitti) spends most of the movie wandering around whimpering (ostensibly because she hasn't quite recovered from a car accident, but the real reason (as director Antonioni belaboredly tells us) is that she's a VICTIM OF TECHNOLOGY). Her husband, who operates a huge, garishly colored technological plant, doesn't understand his wife's alienation, but a business acquaintance, Corrado (Richard Harris), takes an interest in Giuliana, and finally beds her (not because he's attracted to her, but because he wants to UNLOCK HER REPRESSED EMOTIONS). Techno-angst is fairly well-trodden territory today, but Antonioni's film was interesting at the time because of his bold use of color (he even went so far as to paint some of the natural settings). Viewers today, however, are likely to wonder what the big deal is. Ironically, the technology that Antonioni distrusted has superseded his film. Recommended for libraries collecting foreign films; for others not a necessary purchase. (R. Pitman) [DVD/Blu-ray Review—June 22, 2010—Criterion, 117 min., in Italian w/English subtitles, not rated, $39.95—Making its second appearance on DVD and first on Blu-ray, 1964's Red Desert sports an excellent transfer and Dolby Digital Mono sound. DVD/Blu-ray extras include audio commentary by Italian film scholar David Forgacs, original production dailies (28 min.), an interview with director Michelangelo Antonioni (12 min.), two documentary shorts by Antonioni: 1948's 'N.U.' about urban street cleaners (12 min.) and 1947's 'Gente del Po' about a barge trip down the Po River (11 min.), an interview with costar Monica Vitti (9 min.), trailers, and a booklet. Bottom line: although still dramatically uneven, Antonioni's color debut has never looked better, while the extras package is excellent.]