Red Desert (1964) 1080p YIFY Movie

Red Desert (1964) 1080p

In an industrial area, Giuliana, an unstable woman, attempts to cope with life by starting an affair with a co-worker at the plant her husband manages.

IMDB: 7.73 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 1.84G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 120
  • IMDB Rating: 7.7/10 
  • MPR: Normal
  • Peers/Seeds: 5 / 17

The Synopsis for Red Desert (1964) 1080p

In a bleak rundown industrial area a young woman, Giuliana, tries to cope with life. She's married to Ugo the manager of a local plant but is soon having an affair with one of his co-workers, Corrado Zeller, who is visiting. Giuliana is unstable, not quite knowing anymore just what her role is, whether that be a wife, a mother or just another person. Her escape from life is short-lived however as Zeller is simply using her to satisfy his own needs and desires.

The Director and Players for Red Desert (1964) 1080p

[Director]Michelangelo Antonioni
[Role:]Richard Harris
[Role:]Xenia Valderi
[Role:]Carlo Chionetti
[Role:]Monica Vitti

The Reviews for Red Desert (1964) 1080p

An excellent filmReviewed byZen BonesVote: 7/10

For the most part, I've never been terribly impressed by the "new wave" movements in the French and Italian cinema of the 1960s. How many times do we have to watch the upper middle class intelligentsia wallowing in their designer-alienated angst? And why don't those films ever bring up any mention of altruism? Perhaps those folks wouldn't feel so alienated if they got off their seats at the cafe, or on their yacht, and actually tried to participate in the world. Maybe they could help those who don't have the leisure to whine about their hardships in life. Or maybe they could even do something to counter the coldness and ugliness that surrounds them.

This film is different, because this time the isolation and coldness is real and tangible, and we are entrapped by it as much as the main character is. We can see the ugliness and filth sweeping over everything like a virus. And we can see how isolated one becomes when one discovers that s/he is the only one who seems to be sensitive to it. No one really sees or listens to Giuliana (including, I'm sorry to see, some of the commentators here at IMDb!). The people around her see her 'function' (wife, mother, sexy lady) but not her identity. I will admit that Monica Vitti isn't terrific in this. She gives a great 'performance', but it seems too much a performance. If she had been anything like Gena Rowlands in A WOMAN UNDER THE INFLUENCE, this film would be a masterpiece. As it stands, it's still an excellent film.

As for this film's use of colors... I heard once that if you drop a copper penny into a goldfish bowl, it will eventually drain all the color from the fish. I don't know if that's true, but that is what essentially has happened to the town that's depicted in this film (and sadly, thousands of similar places all over the globe). People have adapted. And real color has been drained out of everything. The only colors we see in the film are manmade. Thick, bright, glossy paint coats everything from walls to houses to the pipes in the factories. There are no natural colors that contain any real texture or sensuality or warmth. Even the "natural" elements look unreal. The land is riddled with greenish muck, the sea is coated with muddy oil, and the sky is choking in clouds of frightening yellow smoke. The painted colors that we see throughout the town function like pink pebbles in a dirty goldfish bowl. It is a distraction that rapes one's senses. It's like muzak in an elevator. And by the end of the film, like Giuliana, we are suffocating from it.

There's an incredible scene about two-thirds of the way through the film where we escape with Giuliana in her mind to a dream world. There, the colors radiate from the shimmering sea, and the sand and the sky. And the surrounding hills have more sensuality and texture than the people in Giuliana's real world. I'm glad that Antonioni gave us this image. This film is certainly depressing, yet it has balance. There are few places left on this planet like Giuliana's pastoral island. But the fact of that image gives us a glimmer of hope, like Winston Smith and his journal in '1984'. Even if the only beauty that exists is in our minds, that's something.

I think this is definitely Antonioni's best film. It isn't for all tastes, but then, the best films never are.

David JeffersReviewed byrdjeffersVote: 8/10

A strongly visual film, Il Deserto Rosso was Antonioni's first in color and he exploits it. Guiliana (Monica Vitti), a gorgeous, neurotic chick staggers through her damaged life punctuated with individual graphic explosions as the backdrop. The guarded orgy scene is dated and silly. Much of the visual drama in this film must be due to the accomplished hand of cinematographer Carlo Di Palma as well as Antonioni. Although set in an industrial wasteland the film is a study of beautiful images on a monumental scale. Using a factory setting with an enormous steam vent early in the film Antonioni puts the actors so close they look almost frightened. I can imagine the director screaming at them, "Closer! Closer!" Among other strong images are mountains of green glass jugs packed in straw. He even uses the Istituto di Radioastronomia "Northern Cross" telescope in Bologna so large we never see it entirely. Il Deserto Rosso displays Antonioni's visual poetry at it's best, .

Experimental mixed bagReviewed byFramescourerVote: 7/10

A pretentious, even mangled dramatic armature onto which are projected the loveliest of images. Antonioni's experimental first colour film tries to find a place for a woman in the midst of industrial progress way ahead of that individual's developmental capability. Consequently the character under scrutiny, Monica Vitti's Giuliana, twitches her way through a variety of peculiar settings memorable for their heightened and often surreal colour (and remarkable electronic sound design).

I watched in awe of Antonioni's visual creations - the black, black slag heaps of the opening that one sees later in Tarkovsky's Stalker, a barrow of plaster-grey vegetables and a container ship docking almost inside the room from which it is being viewed, so close it seems.

Yet the film's narrative has now gone beyond the weakly-contingent experiments started with L'Avventura. Actions seem symbolic - i.e. the actors perform their task in a dramatic vacuum. Famously Antonioni had no qualms about using actors as mannequins in his meticulously created scenes but Vitti's committed performance puts too much trust in him. It's interesting to compare her performance to that of Julianne Moore's fine turn in Todd Haynes' Safe, a movie with the similar theme of the psychological impact of modernity on an individual. I don't think it helps that Richard Harris appears so utterly alien in this Italian language production, despite a noble effort on his part.

Admirable, adventurous components in a project whose opacity resists not only our caring but even vesting an interest in them. 4/10

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