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Show 'Irma La Douce', 'Red Desert films coming to Union Movi6i ... f I - ."V Monica Vi.ti as the neuroiic young wife in 'The Red Desert." I Generally Speaki moms film is plas,ic raJ dramat.c, episodic rather ftl rat.ve, architectural rath? 6 taged. Among the ' schools of the style an guage (i.e. WnU e' ticity of image") jiVi pli flt J mirrored m the plaslic C and the architectural , " the visual composition ofi l His cold and rational cl, expressed in the alienation achieved by the camera two characters are talkin g'lo other, he often puts hi Jt behind the back of one of ! as to make them not look n other Again, he always aIIlr-his aIIlr-his characters standing at J position that the physical tcclural construction creates psychological barrier b, them. Like Kafka, Antonioniii' alienated artist. BY PAUL NG Entertainment Writer Billy WilderV'Irma La Douce" and Michelangelo Antoniom s "The Red Desert" are two outstanding out-standing films that -reveal respectively respec-tively the comic and tragic aspects of life. The former will play this weekend in Orson Spencer Hall (OSH) Auditorium at 7 and y.JU pm., and the latter will be screened in the Union Little Theatre The-atre on the coming Wednesday at 2, 7 and 9:30 p.m. "Irma La Douce" is not only the major work of Billy Wilder, Hollywood's leading cynic, but also serves as an indicator of Wilder's daring change in style: from cool wit to hot passion, from sarcasm to fun, from reality to fantasy. Though the film is an adaptation of Alexandre Brcf-fort's Brcf-fort's famous musical, theatri cality, dance and music are skilfully skilful-ly replaced by comic invention and surrealistic treatment of sublet sub-let matter. Wi lder really gets wilder in "Irma La Douce," in which the pessimism of his early works is turned into a burlesque of prostitution in the form of a farce. But tire film is saved from vulgarity by its morality and simple sim-ple charm. Therefore, Jean-Luc Godard couldn't help call Wilder's achievement in the film full of "finesse and intensity." "The Red Desert" is the final product of a long culminative development de-velopment of Antonioni's favorite theme from his "L'Awentura." Like "La Notte," the film is a study of the psychological insight of a neurotic young wife insolated in an over-industrialized and alien world. In the film, Antonioni visualizes visu-alizes concretely the abstract spiritual spiri-tual poverty that makes up the distress and frustration of the heroine her-oine through the use of soft-focus photography and color distortions. distor-tions. The former blurs the background back-ground and isolates her entirely from the surroundings, while the latter reveals her hallucinations and the unusual way she sees things. |
