Long Day’s Journey into Night is the title of Eugene O’Neill’s Pulitzer Prize winning 1956 play but it could also serve as a succinct capsule description of numerous movies from the 1960s that were clearly influenced by Michelangelo Antonioni’s L’avventura (1960) and its themes of alienation and existential despair. Some examples include Giuseppe Patroni Griffi’s Il Mare (1962) which follows three strangers on the isle of Capri during a bleak winter season as they try to connect with each other. Jean-Luc Godard’s Alphaville (1965) depicts a dystopian futuristic society in which a detective finds himself out of place in a modernistic Paris controlled by an oppressive artificial intelligence. And Jacques Demy’s Model Shop (1969) uses the urban sprawl of Los Angeles and its smog-creating car culture as a backdrop to an unemployed architect’s search for meaning in his life. Yet, the most Antonioni-like film of all and the least known is probably Noite Vazia (1964) by Brazilian director Walter Hugo Khouri, which traces a dusk-to-down encounter between two men and two women amid the sterile cityscapes of modern Sao Paulo.Continue reading
Tag Archives: Who’s Afraid of Virginia Woolf?
High Rise Invaders
Long before Michael Haneke arrived on the scene with his original 1997 version of Funny Games (1997), a highly influential and deeply disturbing home invasion thriller, there were many precursors in this unsettling genre that date all the way back to 1939 with Blind Alley and its 1948 remake The Dark Past, in which a psychopathic killer and his gang crash a private gathering at the home of a psychologist. There have been varying tonal approaches to the subject over the years; some overwrought and pretentious like 1964’s Lady in a Cage, some meticulously detailed and artfully depicted as in the Oscar-nominated In Cold Blood (1967) and some purely exploitive and sadistic such as The Strangers (2008). But one of the lesser known but most intriguingly offbeat entries is The Penthouse (1967), the directorial feature debut of British director Peter Collinson. Continue reading