La Signora senza camelie (1953)
Directed by Michelangelo Antonioni

Drama
aka: The Lady Without Camelias

Film Review

Abstract picture representing La Signora senza camelie (1953)
Michelangelo Antonioni's third full-length film is this cleverly updated version of Alexandre Dumas fils's novel La Dame aux caméllias, with the central role of the prostitute replaced, tellingly, with that of an actress. Although this is a comparatively minor entry in the director's oeuvre, it shows the emergence of his essential tropes that would attain fruition in his subseqent masterpieces L'Avventura (1960) and La Notte (1961).

Typical of Antonioni's cinema, the performances are subdued, the feelings of the characters conveyed not by words or gestures but by the environment that contains them, an environment that is defined by the striking black and white photography, set designs and and slick camerawork - the outer space expressing inner moods, almost in the manner of German expressionism. Along with his contemporaries, Fellini and Visconti, Antonioni would bring about a dramatic renaissance in Italian cinema in the 1950s and 1960s, extending the visual power of the neo-realists by embracing modernist styles that permitted new modes of expression.  Whereas neo-realism was concerned mainly with external realities, the new cinema of Antonioni and his peers was more focussed on the inner world of feeling and subjective experience. Interestingly, both Gina Lollobrigida and Sophia Loren turned down the leading role in this film.  The part went to Lucia Bose, the star of Antonioni's first film, Cronaca di un amore (1950).
© James Travers 2007
The above content is owned by filmsdefrance.com and must not be copied.
Next Michelangelo Antonioni film:
L'Avventura (1960)

Film Synopsis

Stardom comes too quickly for Clara Manni.  Leaving her parents' drapers shop in Milan, she becomes a film star overnight, thanks to a small role in a film.  Her producer, Gianni, quickly derails a promising career, however.  Passionately in love with Clara, he imposes marriage on her and forbids her to appear in another film unless it is worthy of her talents.  Gianni finally finds her such a role - as Joan of Arc in his next big budget picture.  The film is a disaster and Gianni is ruined.  Clara leaves him and goes off with a young diplomat, Nardo, who has come to love her through her films.  With Nardo's encouragement, Clara restarts her acting career, the hard way.
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: Michelangelo Antonioni
  • Script: Michelangelo Antonioni (story), Suso Cecchi D'Amico, Francesco Maselli, Pier Maria Pasinetti
  • Cinematographer: Enzo Serafin
  • Music: Giovanni Fusco
  • Cast: Lucia Bosé (Clara Manni), Gino Cervi (Ercole), Andrea Checchi (Gianni Franchi), Ivan Desny (Nardo Rusconi), Monica Clay (Simonetta), Alain Cuny (Lodi), Anna Carena (Clara's mother), Enrico Glori (Director), Xenia Valderi (Anna Conti), Laura Tiberti, Oscar Andriani, Gisella Sofio, Elio Steiner, Luisa Rivelli, Nino Dal Fabbro, Emma Druetti, Rita Giannuzzi, Rita Mara, Lyla Rocco, Nuri Neva Sangro
  • Country: Italy / France
  • Language: Italian
  • Support: Black and White
  • Runtime: 105 min
  • Aka: The Lady Without Camelias

The best of American cinema
sb-img-26
Since the 1920s, Hollywood has dominated the film industry, but that doesn't mean American cinema is all bad - America has produced so many great films that you could never watch them all in one lifetime.
The best French Films of the 1920s
sb-img-3
In the 1920s French cinema was at its most varied and stylish - witness the achievements of Abel Gance, Marcel L'Herbier, Jean Epstein and Jacques Feyder.
The very best fantasy films in French cinema
sb-img-30
Whilst the horror genre is under-represented in French cinema, there are still a fair number of weird and wonderful forays into the realms of fantasy.
The best of Japanese cinema
sb-img-21
The cinema of Japan is noteworthy for its purity, subtlety and visual impact. The films of Ozu, Mizoguchi and Kurosawa are sublime masterpieces of film poetry.
The history of French cinema
sb-img-8
From its birth in 1895, cinema has been an essential part of French culture. Now it is one of the most dynamic, versatile and important of the arts in France.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright