L’Eclisse (1962) - film review

Vittoria walks out on her intellectual lover and starts a relationship with a ruthless young stockbroker, Piero.  At first, Vittoria is nervous about getting involved with Piero – she is physically attracted to him, but something holds her back.  Gradually, Piero’s materialism begins to repulse Vittoria and she ultimately finds herself alone in a soulless world, unable to commit to anyone.

With its emphasis on inward reflection and stark, ambiguious photography, L’Eclisse is not a particularly accessible film.  Like many of Antonioni’s films, it makes great demands of the spectator.  Despite that, the film offers many pleasures. Monica Vitti is spell-binding as the wraith-like Vittoria, a tragic heroine figure looking for an unattainable fulfilment in a barren universe.  The film is perfectly constructed around her performance, to the extent that the spectator shares every minute of her angst, frustration and uncertainty.  Her French co-star Alain Delon is nearly as alluring, embodying a chilling blend of god-like beauty and sordid human  materialism.

Despite its lack of conventional drama, this is a stirring and almost tragic film.  Human existence has been all but subjugated to modern technology, leaving little of genuine value and meaning.  The film’s final sequence, when Vittoria realises her fate, is both haunting and intensely disturbing, painting a shockingly believable picture of a future world which has no soul, individuality or purpose.

© James Travers 2001

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