Three Movie Posters for “L’avventura”

Fabrizio del Wrongo writes:

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The French poster utilizes the art from the Italian poster, by the great Carlantonio Longi.

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This Argentine poster features the same basic design, though it’s been reinterpreted somewhat. The acid-y coloration is typical of Argentine movie posters of the period.

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Compared to the other two, this U.S. effort is pretty weak, though it might do a better job of expressing the tone of the movie. Note that it uses Longi’s image of Lea Massari standing on the rocks, though it’s been relegated to the margin.

“L’avventura” was recently released on Blu-ray by Criterion. I think it’s fair to say that the transfer, which derives from a 4k scan of original elements, is among the most beautiful ever to make its way to home video.

About Fabrizio del Wrongo

Recovering liberal arts major. Unrepentant movie nut. Aspiring boozehound.
This entry was posted in Commercial art, Movies and tagged , , , , , , , , , . Bookmark the permalink.

3 Responses to Three Movie Posters for “L’avventura”

  1. peterike2 says:

    I can’t get with Antonioni. I tried Lord, I tried, but I find him a crashing dullard and this film immensely over-rated. It’s one of those films that one may spend a great deal of time studying, but very little time enjoying. And since I’ve long given up my studying days and am resolutely focused on enjoying, I can’t be bothered any more with all this bloody alienation. If I want to feel alienated all I have to do is scan Google news. I don’t have to sacrifice my leisure hours to second-hand anomie.

    Which is not to say he’s not a “great” director. Sure, he probably is, but not for me.

    Like

    • slumber_j says:

      The problem here is that you’re paying too much attention to the putative auteur. Fix your gaze instead on Monica Vitti’s mug, and the appeal will become clear.

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    • Fabrizio del Wrongo says:

      Lord knows I’ve had my struggles with Antonioni, but “L’avventura” I’ve always found fascinating. Later on in his career MA sometimes succumbed, like Fellini, to representing exactly what he was critiquing. Here, though, there’s a tragic quality to these people who seem to be acting out routines that no longer connect to anything. Plus, I find the movie aesthetically transporting, almost hypnotizing. And, as slumber_j mentions, there’s the spectacle of the beautiful and chic women (the ladies, they gave their all for the maestro). On watching it again a few weeks ago I was struck by how reactionary the movie is. Antonioni really goes after modernism. Ferzetti’s modernist architect is a man who stands for nothing, and who so resents the builders of the past that he can’t bear to watch people mimic them.

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