It is somewhat ironic that we are commemorating a total solar eclipse which occurred in the United States a week ago, with a film that can be easily interpreted through Marxist lenses. Although, since the Cold War is over, one can afford such leeway. Speaking of the Cold War, L’eclisse was filmed in the aftermath of the Cuban Missile Crisis and is heavily influenced by that very experience the world had gone through. Trees in the film remind of the shape of a nuclear blast, which is very likely rooted in our collective unconscious, if we follow Jungian psychoanalysis.
The film follows Vittoria (Monica Vitti – one of the most talented Italian actresses of that era), self-confident but fragile young woman who engages in romantic escapades or long-time relationships while seeming to be reluctant to allow herself to be seriously emotionally involved. She longs for security; as we can see at the beginning of the film when she lies in a fetal position, but she also longs for freedom and is repelled by what she perceives as impediments that men bring to her life.
The first man that we can see she encounters is her adolescent amour, the man who wants to marry her, but she escapes from such a possibility and encounters a young man of materialistic nature. He sees the world through the lenses of a man who mostly deals with numbers, money to be more exact. At one moment in the film, he says that he had dinner with “seven or eight billion liras”. When he meets Vittoria, all he talks of are his cars and the money he earned. The angles from which the scenes of Vittoria and her companions are filmed imply emotional distance (we can often see their backs).
What’s even more symptomatic are the scenes of the behaviour of businessmen at the stock exchange; Antonioni dedicates a fair amount of screen time to such scenes to highlight its barbaric and crude nature. At one moment of silence is had for a “fallen comrade”; the angle from which the scene is shot makes it similar to a religious experience at a chapel. Both romances fail, the second mostly because the tender and poetic side of Vittoria simply cannot digest Piero’s crude materialism.
The two themes with which Antonioni deals predominantly in this film are the alienation of modern man and the banality of romantic love. The first theme is explored in his early neorealist films (most notably Il grido), but is elaborated upon fully in the trilogy L’Eclisse is the part of. The scenes which deal with a woman who was born in Africa symbolize the need of modern man to escape alienation through immersion into the life of “primitive” people and intimate encounter with nature. Antonioni points out that this is impossible. The Westerner sees the Africans through the lenses of modernization theories which value other cultures according to their level of industrial, economical (etc.) development.
The banality of romantic love in the bourgeoise society has an important aspect that needs to be considered. Love is no longer destructive in the manner Homer depicts it (Troy is sacked because of eros), or as later poets and authors do. The main danger, as Antonioni sees it, is that romantic love becomes a trifle, a commodity which takes boredom away.
The beautiful final shots in the film show desolate town landscapes with worried and devastated people (the nuclear threat); the shots of water represent life which is slowly fading away into the nothingness of Boudelairean spleen permeating the industrial landscapes resembling those in Antonioni’s Red Desert.
There are times when holding a needle and a thread, or a book, or a man – it’s all the same.
This line can be interpreted from several different angles. It presents Vittoria in a vulnerable moment of passive nihilism, but also the desire to transcend that feeling. It is important to note the symbolism of tropes she chose to say. A needle and a thread are intimately connected to the art of weaving. It is a delicate skill, but also the one which connects threads into something new, which can be beautiful and awe inspiring.
In Plato’s Statesman weaving is compared to the statestman’s role. He needs to weave divergent and analogue threads into a polity. A “book” can imply numerous things like exploring the uncharted seas, but also late-night boredom and fatigue. Associating all these tropes with the romantic relationship is intellectualy stimulating and interesting. It can inspire countless interpretations, the one that highlights the emotional state of the main character, but also her subconscious desires and imagination.