Big Duhhh?

Which director working today is the ultimate anti-Antonioni? A filmmaker who not only expresses an overwhelming indifference to the “haunting nothingness” element woven into the films of Michelangelo Antonioni, but whose films seem to be strenuously arguing with this — films that seem to say over and over that there’s no such thing as spiritual ennui or alienation, and that each and every particle of each and every moment in our lives is filled with vibrancy and connectivity. Or should I ask if there’s any filmmaker at all out there who seems to be at least aware of this age-old current? Or has “nothingness” become so prevalent that alluding to it in any way, shape or form would be regarded by audiences as a big “duhhh”?

Posted at 11:07 AM on Tuesday, July 31, 2007 by admin

41 thoughts on “Big Duhhh?”

MAGGA on July 31, 2007 at 11:25 am said:

The movie Amelie seems very focused on meaning in everything and anything. Pointing out the positives is as meaningful as nothingness, in my opinion.

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jeffmcm on July 31, 2007 at 11:32 am said:

Michael Bay is pretty much the perfect example of a filmmaker in strenuous denial that there’s anything to life outside of reptile-brain pleasures like explosions and bare midriffs.
Shyamalan is a pretty big offender on the front of trying to prove that everything is connected and wonderful and he has things all figured out.

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Josh Massey on July 31, 2007 at 11:33 am said:

This post is an underhand softball to D.Z….

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dcc77 on July 31, 2007 at 11:35 am said:

The romantic comedy genre and all its dramamtic practitioners are fervently anti-Antonioni. I indict Nancy Meyers, because her sanitized, morally bankrupt film The Holiday was so bad it knocked my girlfriend out of the mood during a recent viewing. Some might call MA’s style deliberate (i.e. slow) but he delivered his version of truth, never disposable narrative gloss.

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Craig Kennedy on July 31, 2007 at 11:49 am said:

Maybe I just don’t understand the question, but I’d rather turn it around in a positive direction think of the directors who are the most Antonioni like.
The first one that comes to mind is David Lynch for his ability to look into the void and for having the balls to tell about it without providing safe, concrete answers.

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Craig Kennedy on July 31, 2007 at 11:55 am said:

Wow, that didn’t come out right at all but I don’t know how to say it any better. Please forget I opened my mouth.

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source188 on July 31, 2007 at 11:56 am said:

Tarantino.

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kadoogan on July 31, 2007 at 12:01 pm said:

Cameron Crowe. Not that there’s anything wrong with Crowe. I own several of his movies, but if there’s anyone that likes to spit in the eye of nothingness, I’d defintiely say it’s him.

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erniesouchak on July 31, 2007 at 12:19 pm said:

Baz Luhrmann

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Marcello on July 31, 2007 at 12:27 pm said:

This is an interesting question. I have no idea what it means, and I’m not sure I accept the premise. But it’s interesting.
Mike Leigh’s characters tend to reach out, however clumsily, toward some kind of connection. “Life Is Sweet,” “All Or Nothing” and “Secrets & Lies,” at least, feel close to being about something that’s the opposite of alienation (in those cases, caring families).

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Rich S. on July 31, 2007 at 12:37 pm said:

Shouldn’t Mike Binder be chiming in on this? Both Upside of Anger and Reign Over Me explored some of the themes of alienation Jeffrey’s talking about.

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frankbooth on July 31, 2007 at 12:44 pm said:

Cj,
Your comment makes perfect sense. I was thinking the exact same thing.
As for the anti-Antonionis, Bay and his ilk are the obvious choices. But (and it pains me to say this) I’d have to include Peter Jackson.
I love Braindead, Heavenly Creatures is a huge artisitc leap forward for him, and the LOTR movies are an amazing achievement, as good as the genre has ever gotten onscreen. Kong is not a total disaster — there’s nothing wrong with it a good (severe) editing job couldn’t fix. But more and more often, he tends to spell out and underline every…single…moment, and it can be exhausting. Each scene is treated like its own mini-movie, with a conflict and reslution within it. Example: Naomi at the restaurant with Jack Black. She needs the job, we KNOW she’s going on the boat, and yet it’s unnessecarily drawn-out in a contrived manner to generate false suspense. He does this over and over. Has Frodo been stabbed? Will Samwise drown? Uh-oh, Aragorn fell off a cliff! There’s enough conflict inherent in the material without faking it.
And then there’s the general obviousness of his technique, every scene cranked up to eleven. Theoden can’t just be under the thrall of Wormtongue. He has to be possessed, with long, scary fingernails and milky eyes. Wormtongue himself must look like a zombie coated in grease, as if the casting if Brad Dourif weren’t enough of a signifier that he’s a creep. And so on.
I realize that in some ways it’s not his fault–it’s the natural legacy of years of Spielberg and Cameron and the need to constantly turn up the intensity to keep the ADD generation from tuning out. These Transformers fans are cinematic crack babies, and they have to be catered to. But I really hope PJ gets over this, because he has real talent.
Disclaimer: the above long-winded diatribe is not intended to be construed as a personal attack on any persons, places or institutions.

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bagelfilm on July 31, 2007 at 12:47 pm said:

Remember: “Claude Hooper Bukowski
Finds that it’s groovy
To hide in a movie
Pretends he’s Fellini
And Antonioni
And also his countryman Roman Polanski
All rolled into one
One Claud Hooper Bukowski”
The Anti-Antonioni is Quentino Tarantoni.

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bagelfilm on July 31, 2007 at 12:47 pm said:

Remember: “Claude Hooper Bukowski
Finds that it’s groovy
To hide in a movie
Pretends he’s Fellini
And Antonioni
And also his countryman Roman Polanski
All rolled into one
One Claud Hooper Bukowski”
The Anti-Antonioni is Quentino Tarantoni.

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MilkMan on July 31, 2007 at 1:00 pm said:

McG
Ed Burns
Brett Ratner
Frank Coraci
Steven Spielberg
Penny/Garry Marshall
Robert Luketic
Luc Besson
Robert Rodriguez
Tony Scott
Joe Carnahan
Jan De Bont
Marcus Nispel
James Cameron
Paul Haggis
Ron Howard

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jeffmcm on July 31, 2007 at 1:01 pm said:

“The Anti-Antonioni is Quentino Tarantoni”
In my opinion, this is only true if you think of Antonioni as defined by dourness, pompousness, and a lack of cinematic joy.

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Mr. Muckle on July 31, 2007 at 1:10 pm said:

I’ve got to go with Mel Gibson.

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Mr B on July 31, 2007 at 1:10 pm said:

I must not understand the question because to me the answer is Alejandro Gonz√É∆í√Ç¬°lez I√É∆í√Ç¬±√É∆í√Ç¬°rritu, not Michael Bay et al.

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Mr B on July 31, 2007 at 1:12 pm said:

whoops, seems it doesn’t like my chaqracters, I emant to type: Alejandro Gonzalez Inarritu

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Mr B on July 31, 2007 at 1:12 pm said:

whoops, seems it doesn’t like my characters, I meant to type: Alejandro Gonzalez Inarritu

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MAGGA on July 31, 2007 at 1:24 pm said:

And I was just about to get into the mood of rewatching some Antonioni. This kind of discussion takes all interest away, even if it is not at all the fault of the filmmaker. So a filmmaker describes nothingness brilliantly and so every director who believes that things, even smaller things, contain meaning is some kind of anti-christ. There are different approaches to making a film, and all are valuable if done well.

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DavidF on July 31, 2007 at 1:40 pm said:

Just to back a bit too FrankBooth’s comment. I agree with some of it for sure but some of those LOTR criticisms come straight out of the book.
I mean, Brad Dourif or not, the dude’s name is Wormtongue.
(And, c’mon, that morph when Theoden is freed is as subtle and beautiful a special effect as there is in those movies.)
Frodo does get almost-killed mutiple times in the book etc.
Jackson has just come off of too mega-epic labours of love. I think once we see The Lovely Bones we’ll have a better sense of who he (ie whether Heavenly Creatures was a blip or a sign of true mastery with more to come.)

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gruver1 on July 31, 2007 at 1:54 pm said:

The Ultimate anti-Antonioni is Peter Jackson. The spiritual current in every one of his films except for Heavenly Creatures is about energy for energy’s sake without a second’s thought for anything else.

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jeffmcm on July 31, 2007 at 1:57 pm said:

I politely disagree. Critics and audiences wouldn’t have responded to Jackson’s movies as they did if they were as vacuous as you suggest. Once again: Michael Bay, whose movies are about nothing.

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Rich S. on July 31, 2007 at 2:02 pm said:

“The Ultimate anti-Antonioni is Peter Jackson.”
Like we couldn’t see this one coming up Sixth Avenue.

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MAGGA on July 31, 2007 at 2:09 pm said:

(Sigh)

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christian on July 31, 2007 at 2:27 pm said:

The Ultimate anti-Antonioni is now…
Antonioni.

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JC on July 31, 2007 at 2:33 pm said:

I’m not sure Jeff is asking for box office ruling uber-hacks, like Bay. I think he’s looking for filmmakers whose movies would be safely programmed in a double bill next to Antonioni’s without embarrasing anyone. On the living front, I’m not sure there is a match. No one seems to be seriously considering matters of faith and the absense of God. Gonz√É∆í√Ç¬°lez is all about connectedness, but the God issue remains safely outside of his dramatic realm. Maybe the Dardenne brothers. Cheating a little bit and diggging in the graveyard, I think you’d find a better match in Krzysztof Kieslowski. Faith in God and human connection soaks every frame of his movies, specially the Three Colors Trilogy. Like Antonioi, he films the material world as an extension of the inner lives of his characters. Those are spiritual films even an atheist could love.

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Mgmax, le Corbeau on July 31, 2007 at 2:34 pm said:

I find most of Antonioni’s films frustrating but I grant that he was a great filmmaker in at least a certain sense– he taught the movies to stare, to be in the moment and not rush along to the next scene. Many of the truly great movies of the 60s wouldn’t exist without him– the difference between Bridge on the River Kwai and Lawrence of Arabia is L’Avventura; it’s the difference between Spartacus and 2001, too, and between A Fistful of Dollars and Once Upon a Time in the West, and– apropos of the other recent passing– between The Seventh Seal and The Silence.
Of course movies now are all about rushing to the next scene, about chopping the moment to bits of sensation. So Bay, Stone, anybody whose work is about throwing something new in your face every second or two is the anti-Antonioni.

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lazarus on July 31, 2007 at 3:05 pm said:

First filmmaker that came to mind, and I’m surprised hasn’t been mentioned already, is Paul Thomas Anderson. Already considered a touchy-feely variation of Altman, Magnolia is the clearest opposite to the vibe I get from Antonioni, where everyone (and everything) is connected, and there are answers to our questions if you look hard enough.

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cjKennedy on July 31, 2007 at 11:49 am said:

Maybe I just don’t understand the question, but I’d rather turn it around in a positive direction think of the directors who are the most Antonioni like.

The first one that comes to mind is David Lynch for his ability to look into the void and for having the balls to tell about it without providing safe, concrete answers.

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Craig Kennedy on July 31, 2007 at 3:54 pm said:

“the difference between Bridge on the River Kwai and Lawrence of Arabia is L’Avventura; it’s the difference between Spartacus and 2001, too, and between A Fistful of Dollars and Once Upon a Time in the West”
Wow, I really like that.
I’ve always been frustrated by Antonioni as well, and yet his movies are oddly compelling even though I can never explain why. I find I get the most out of them when I just surrender instead of worrying about analysis and classification. Fruity I know, but there you go.
I still don’t know exactly what Jeff means by an anti-Antonioni nor am I convinced it’s an inherently bad thing. Antonioni does his thing and Jackson does his. The two can co-exist peacefully in my opinion without one lessening the other.
If you accept the idea of an Antonioni film as being about nothingness, then Bay is an interesting suggestion. His films ARE nothingness. Again, not that there’s anything wrong with that.

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cjKennedy on July 31, 2007 at 11:55 am said:

Wow, that didn’t come out right at all but I don’t know how to say it any better. Please forget I opened my mouth.

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T. Holly on July 31, 2007 at 5:03 pm said:

Steve Carr is THE ULTIMATE Anti-Antonioni.

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Mgmax on July 31, 2007 at 2:34 pm said:

I find most of Antonioni’s films frustrating but I grant that he was a great filmmaker in at least a certain sense– he taught the movies to stare, to be in the moment and not rush along to the next scene. Many of the truly great movies of the 60s wouldn’t exist without him– the difference between Bridge on the River Kwai and Lawrence of Arabia is L’Avventura; it’s the difference between Spartacus and 2001, too, and between A Fistful of Dollars and Once Upon a Time in the West, and– apropos of the other recent passing– between The Seventh Seal and The Silence.

Of course movies now are all about rushing to the next scene, about chopping the moment to bits of sensation. So Bay, Stone, anybody whose work is about throwing something new in your face every second or two is the anti-Antonioni.

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Matthew Lucas on July 31, 2007 at 7:46 pm said:

Miranda July’s “Me and You and Everyone We Know.”

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cjKennedy on July 31, 2007 at 3:54 pm said:

“the difference between Bridge on the River Kwai and Lawrence of Arabia is L’Avventura; it’s the difference between Spartacus and 2001, too, and between A Fistful of Dollars and Once Upon a Time in the West”

Wow, I really like that.

I’ve always been frustrated by Antonioni as well, and yet his movies are oddly compelling even though I can never explain why. I find I get the most out of them when I just surrender instead of worrying about analysis and classification. Fruity I know, but there you go.

I still don’t know exactly what Jeff means by an anti-Antonioni nor am I convinced it’s an inherently bad thing. Antonioni does his thing and Jackson does his. The two can co-exist peacefully in my opinion without one lessening the other.

If you accept the idea of an Antonioni film as being about nothingness, then Bay is an interesting suggestion. His films ARE nothingness. Again, not that there’s anything wrong with that.

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frankbooth on August 1, 2007 at 12:21 am said:

Have I given the appearance of being on the same side as Mr. Wells here? (Maybe I should suck up as a get-out-jail-free card for the next time he starts arbitrarily smiting readers…)
To David F and all the other Rings fans: you’d obviously have to be a fairly big geek to zero in on specifics the way I did. I own the extended edition DVDs (there go my suck-up points). That tendency to drive home every minute of every scene is the one thing that annoys me about the films, which are very successful — in every sense — adaptations of virtually unadaptable material, and it’s even more pronounced in Kong. I just don’t want to see a talented director dig himself into a bottomless pit.
You don’t see me saying this about the Bays and Sommers’s and Ratners of the world, because I think they have nothing to lose. They never had potential to piss away.
Disclaimer blah blah blah oh just go ahead and zap me.

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frankbooth on August 1, 2007 at 12:30 am said:

Short version of the above comment:
PJ’s films are filled with moments of wonder and terror and beauty. But more and more aften these days, he just doesn’t know when to quit.

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The Winchester on August 1, 2007 at 12:32 am said:

Aw man, Matthew Lucas beat me to the Miranda July comparison.

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