Analysis Of Antonioni 's ' La Notte Moreau ' Essay

Analysis Of Antonioni 's ' La Notte Moreau ' Essay

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In Antonioni’s La Notte Moreau uses this mastery, which previously brought a new love life, to end a dying one. The film’s final sequence again finds Moreau, this time as Lidia, walking away from a love interest— Giovanni. Like Jeanne, Lidia refuses to look back at the man that trails behind her, but Lidia’s gaze is level, and focused on what’s ahead. She turns only momentarily to respond to Giovanni, matter-of-factly, and as she walks off screen she seems content to leave Giovanni behind. When the two stop, Lydia turns, hesitates, and somewhat reluctantly tells him about Tommaso’s death. She cock’s her head gently at his response, doubting his concern, and then begins to reminisce about Tomasso.
Moreau takes a very similar moment—woman walking away from love interest, and only reluctantly engaging with him—and is able to make it vastly different. Moreau has asserted that thought can go on beforehand, and in each case thought surely has, directing her attitude toward each man, however these attitudes become manifest, in each case, through the same class of subtle physical responses.
As she speaks of Tommaso, she becomes lost in the words themselves, as she stares off into the distance—her hands gesticulating in a strained effort to express a feeling that her words fail to capture. She grimaces deeply, and strides away into what seems like a distant memory. Then, as the memory drives her to him, the turns to address Giovanni, dragging her into the present with him—as she concludes the recollection she begins to cry. Here we see that Moreau is able to somewhat paradoxically remain in present in the film, while leaving the cinematic present. In other words her mind occupies a time other than the filmic present, but re...

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...ain parallels that of Les Amants. At the moment of contact—specifically handholding— Moreau engages, has a moment of realization, resists, and then—to some degree, acquiesces. However the scenes, while both so vividly physical, are radically different in tone and narrative significance. This difference is initiated by the decisions Moreau makes prior to the scene —the germinal “thought (that) go(es) on beforehand”—and is carried out by actions enabled by commitment to functioning in the present moment, the moment of performance. The emotions expressed by here intense physical presence, are delivered subtly, but in such consistent abundance, that her acting appears profoundly fluid. It is perhaps for this reason, in part, that Moreau’s portrayals of feminine love are so consistently associated, in these films and others, with floods, fluids, at fluidity itself.

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