Journey To The 7th Planet, 1962… is an intriguing slice of cultus obscura or something, from Denmark. By the enterprising Sid Pink and Ib Melchior. It’s part ‘howler’ (so self-serious that it’s funny) and part genuinely trail-blazing. But it’s an average film overall. If there are any, which I doubt, it’s a ‘must see’ for Sid Pink fans. -A projectionist at a theater, who just decided to begin producing his own films, becoming a prime innovator of 3D.
Zabriskie Point (1970) by Michelangelo Antonioni.
“An uneven mixture of staggering visuals and disastrously paltry script”
A young former college student Mark (Mark Frechette), jaded with lack of any revolutionary actions, wanders with his friend from one gun shop to another, deceiving a seller that they need weapons for self-defence, with a view to initiating his own revolution. During the disturbances in which students partake, Mark is said to have slaughtered a policeman (one never sees clearly if it’s true – the protagonist argues it isn’t). So as to evade consequences, Mark steals a small aeroplane and escapes from Los Angeles. While he is looking at the deserted landscape from the plane, he notices a car, which is driven by Daria (Daria Halprin), an attractive hippie who is a secretary and lover of Lee Allen (Rod Taylor). Mark and Daria’s relationship begins and starts to flourish…
Zabriskie Point (1970) was Michelangelo Antonioni’s first and sole American motion picture. One may assume that the astonishing success of Blow-Up released 4 years earlier derived from the fact that the movie, on account of an apparent thriller premise, was understandable for less orientated viewers who were deeming the plot and its afterthoughts in a superficial manner. Zabriskie Point was a financial disaster, devoid of such aspect and thus incomprehensible to an ordinary filmgoer. Even more risky was spending 7 million dollars on this arthouse, adjusted to American industry, with an anti-Establishment and anti-consumerism message. Additionally, Zabriskie Point was dismissed by the critics for being anti-American as well as insufficiently profound to analyse both the problems of youth and those pervading America tackled in the film. Notwithstanding, these aren’t the only reasons why Zabriskie Point was one of the greatest flops of 1970s as this Antonioni’s flick is heavily flawed. Apart from having sparse, scatter-brained texture, the movie has a juncture which looks like a resolution and only when one sees that the action continues, does one make out it isn’t the end. Unfortunately, this isn’t all. The characters played by Frechette and Halprin virtually aren’t given any kind of depth, their acts aren’t driven by any desires, aims or needs, thus their emotional background is very shallow. The feeling of pointlessness is ubiquitous which also might be entailed and compounded by the unconvincing acting (both actors had very little experience) which doesn’t render the things better. The moments of better performances are few and far between.
Mise en scène leaves mixed impressions. There is no doubt one deals with Michelangelo Antonioni, but outbursts of cinematic beauty are quite rare and the direction seems very distant, tepid and unsatisfying. While efforts such as Blow-Up (1966), [i]The Passenger/i have quasi-documentary ensembles and illusory, bizarre finales which indicate more complex exegeses and contrast with earlier exploited style, Zabriskie Point starts to be solipsistic and hallucinogenic already from the half. The action takes place in the late 60s. The beginning reminds of a documentary recounting a turmoil occurring in LA in that period of time. Utilizing fast zooms, swift movements, shaky camera-work and sharp editing, Antonioni gives it a documentary appearance. The instant a viewer beholds open and isolated spaces of Zabriskie Point, the flick gets more surrealistic and the best illustration of it is the love scene, owing to which Zabriskie Point was originally rated X at its premiere in 1970. It is a hallucinogenic vision which probably depicts the mental state of both characters and comments on sex which was considered to be a taboo subject. Antonioni deems this act as a normal deed and in this way he scoffs at all arguments against acknowledging its role in life of every human being. Antonioni exploited actors from The Open Theatre, an experimental theatre group, active from 1963 to 1973, to shoot the sequence which is absolutely ravishing as well as intense and remains one of the best moments in the film. It displays other couples kissing and making love in the desert which transforms from an isolated into a crowded place. Whereas the first part isn’t that engaging, in the second one, particularly towards the end, one receives a genuinely graceful Antonioni style. Once Daria is forlorn, one obtains a great deal of beautifully crafted scenes regarding isolation and solitude which are typical for earlier Michelangelo Antonioni’s movies. The finale sequence is simply phenomenal, although the music accompanying it changes too abruptly.
The cinematography by Alfio Contini is spellbinding. It miraculously captures the beauty of warm sun-baking dunes of Zabriskie Point. The lighting is terrific and it is truly bewildering in how many ways one can depict the same desolated and lifeless space. The soundtrack composed by Pink Floyd, Jerry Garcia and other musicians is tremendous and might be one of the best ones ever recorded. Every single score is simply exquisite.
Zabriskie Point has obviously an anti-Establishment message, but Antonioni portrays America of 60s in a so demonized manner (i.e. protestors are good, the police are hostile and bad etc.) that his vision of the USA looks utterly unreal. Certainly, the reflection that the world should be altered by the force of mind as well as our behaviour, not violence isn’t anything ludicrous, but the framing which Antonioni utilizes to state it is too harsh and thus excessively subjective. In addition, in case of Zabriskie Point Antonioni appears to be too confident and incapable of refraining from some self-indulgences. Antonioni is positive what he wants to utter in Zabriskie Point, but the movie does not contain sufficient substance to discuss. The subject, which is superficially analysed, outweighs the plot, the script and the characters, which ruins the entire concept. Structurally, Zabriskie Point is a spectacular catastrophe, with more and less riveting moments, but it’s still a catastrophe which lacks consistent storytelling. The visually imposing framing cannot diminish its numerous flaws and the omnipresent feeling of pointlessness sweeps away plentiful benefits. Notwithstanding, Zabriskie Point is worth a look forasmuch despite implicating all those errors, it flabbergasts with its artistic opulence and ravishing visuals. 5/10
Django Unchained - finally watched Tarantino’s spectacle
well, how should i put it - i thought Inglorious Basterds was slightly disappointing and this one is even more
3 maybe 3,5 out of 5
I did not liked Zabriskie Point very much the first time I watched it, which was very long ago. Thought it was overly pretentious. But a few years ago, and it was (just like the first time) again in a theatre, I really enjoyed it.
One of Antonioni’s best. Maybe even 9/10
Well, I sorta liked it - particularly the ending, but it wasn’t so good. It’s not that it was pretentious - the characters are shallow and the script sucks. It’s not the worst Antonioni I’ve seen (La signora senza camelie is worse - mostly boring and excessively talkative to my taste), but still quite a disappointment (it was bewildering that between Blow-Up and The Passenger Antonioni made this one). The soundtrack is absolutely stunning though.
I also didn’ like Zabrieskie point, a god ideia the desert and everything, but for the countculture genre Peter Watkins films work better (much better ) for me.
I like Antonioni and I like Zarbriskie Point. I fancy this very sexy actress and I love the score, especially Careful with that Axe, Eugene illustrating the destruction of consumer’s society
We of course still live in a consumer’s society, Eugene is still bleeding under his axe, Antonioni is no more, but he’s immortal, just like Pink Floyd and we will be forever amused to death (which has no end).
Amen.
In other words: a wonderful movie, devoid of any real meaning, a sort of guilty pleasure, pretentious style. Love it.
From Beyond The Grave.
Anthology horror one from Amicus studies. All the stories stem from Peter Cushings antique shop. Great bunch of stories with no real weak one, which is not always the case with some of these anthology horror films. My favourite story is the one with Donald Pleasance who co stars with his daughter who was ever so creepy in her 70’s horror films.
Blow up has grown on me too, but interestingly I don’t like The Passenger very much.
Blow Up 10/10
The Passenger 6/10
I don’t like Antonioni. I adore Antonioni. His movies are so good.
Here are my ratings for his flicks, I’ve seen:
- The Passenger - 10/10
- Il deserto rosso - 10/10
- Blow-Up - 10/10
- The Eclipse - 10/10
- Il grido - 9/10
- L’avventura - 8/10
- La notte - 7/10
- Zabriskie Point - 5/10
- La signora senza camelie - 4/10
I haven’t seen: L’Identificazione di una donna, Il Mistero di Oberwald, Le Amiche, L’Amore in città, I Vinti and Story of a Love Affair (I don’t know the original title).
Actually The Passenger is my second favorite movie of all time - transcendent. Oh my… I simply love every minute of it. The Passenger was better after the second viewing though (every Antonioni flick gets better with every viewing).
Antonioni in numbers.
Cronaca di un amore - 6/10
I Vinti -
La signora senza camelie - 6/10
Le Amiche - 8/10
Il grido - 8/10
L’avventura - 10/10
La notte - 9/10
The Eclipse - 8/10
Il deserto rosso - 8/10
Blow-Up - 10/10
Zabriskie Point - 9/10
The Passenger - 6/10
Il Mistero di Oberwald 5/10
L’Identificazione di una donna - 7/10
Al di là delle nuvole - 7/10
Eros (Episode Il filo pericoloso delle cose) - 6/10
Odd as it may seem, L’Identificazione di una donna is one of my favorite Antonioni’s, along with Il Deserto Rosso, La Notte, Blow-Up and Zarbriskie Point.
Not sure about L’Avventura. Beautifully made, but it somehow left me a bit cold. Don’t Like The Passenger either.
Actually my favourite Antonioni is L’Avventura lovely film, along side with Il deserto Rosso and La Notte, haven’t seen Blow-up in a long time, and have not seen half of his films ever, a lot of catch to do
Have you seen The Passenger? I feel forlorn, no one seems to like here… 
And watch other Antonioni stuff, I can watch his movie over and over again without being bored (although he is said to be an ennui-infected director).
No I’m afraid not Mickey will be on my watch list
You may add The Eclipse and The Cry (Il Grido) as well, phenomenal flicks.
I’ve always considered The Passenger to be slightly inferior to The Red Desert And Blow-Up, but after a reviewing it even surpassed those two. And now I’m confused a little. 
I don’t hate The Passenger, Mickey, I feel it’s impossible to hate anything this visual master did. He just made a couple of movies I love more.
Last time I watched it was very long ago. Maybe I view The Passenger now very different.
I saw The Passenger in cinema, on one of these retrospect festivals, a couple of years ago. My ideas about it hadn’t changed after all those years. It wasn’t a great copy (lot of scratches, jumps), which certainly didn’t help.
Anyway I thought it was terrific. I may write a review for The Passenger, but now I’m willing to watch and review L’Identificazione di una donna which sounds very nice.