I first saw this film about three years ago. It had come up in my reading, and it sounded interesting. So I rented it. I found it good, if a little boring. However, later I discovered that it was one of those films that may not be entirely entertaining when it is watched initially, but that comes back full force in the memory at a later time. This is true both for this film, and the only other Antonioni film I have seen, Blowup. Still, tonight was the first time in three years that I have actually sat down to watch L'Avventura (and I actually plan to re-rent Blowup in the next couple of days and any other Antonioni films I might be able to find).

As I have said, L'Avventura has been built up by my mind ever since I saw it. Was it as good as I made myself think for the past three years? Yes. I have confirmed my suspicion: L'Aventurra is one of the best films ever made.

In subject, this film is a lot like La Dolce Vita. Its main theme is the decadent lifestyle of the wealthy. The decadent wealthy in L'Avventura are a lot worse off, though, than those in La Dolce Vita. At least those who were living Fellini's version of the sweet life were having fun. Sure, it was soulless fun, but, while watching the film, this thought, no matter how much I wanted to suppress it, was pounding in my mind: "Jeeze, I wish I could party with these people." Their lifestyle seems just plain fun. They may have to pay for their hedonism in some way, but at least they're having fun in the meantime! L'Avventura's sweet life is the definition of "l'ennui." Life to them is an unfortunate event.

The script to this film, as well as anything else about it, is absolutely ingenious. To simplify things, let us say that the first plot point in the film is Anna's disappearance. This is the initial problem that the characters have to deal with. In a film made under the classical guidelines, this would have been the goal that would have to be solved by the end of the film. But as L'Avventura advances, the script allows us, or maybe even makes us, forget about Anna. This process is very gradual (and she never completely disappears from our minds, especially since Claudia mentions her so explicitly near the end),but it begins very quickly after she disappears, with the infamous kiss between Sandro and Claudia. There are miles of interpretation and discussion left to go, but it is unneccessary to continue here. This is just a beginning.

The title to this film is, of course, ironic. There is no literal adventure. One could make the argument that the adventure is one of the mind, but I do not believe this. The adventure, I believe, is an adventure in reinventing the cinema.

"L'Avventura" is an artsy sort of film and the winner of an award at Cannes. While I don't think it's a bad film (and some of the director's films, despite his reputation, are just bad) but not at all as marvelous as some think it is. It is, however, in some ways rather innovative if not especially pleasant.

The story itself is paper-thin. Anna is a disaffected young woman. Although she is pretty and has every apparent reason to be happy, she mostly sulks during the portion where she is in the film. When she and a group of others are on an outing on the islands, she mostly behaves unpleasantly. Out of the blue, she disappears and even when the authorities are called, she cannot be found.

For the rest of the film, Anna's boyfriend, Sandro, as well as her friend, Claudia, look for Anna. They follow clues throughout the countryside and soon, Sandro is like an octopus--with his hands all over Claudia. At first, she is offended but after a while she reciprocates and soon the pair are talking about getting married. By the end, however, Sandro screws everything up and there is an ending that is a bit vague.

The film has a few strikes against it. Most importantly, it's not especially exciting fare--with quite a few lulls and a plot that isn't especially complex. Additionally, the characters are either vague (such as Claudia) or unlikable--such as Sandro and Anna. However, I don't write off the entire film as a pretentious art film. The film was quite groundbreaking in its frankness about sexuality. While there is no nudity (at least in the version released by Criterion),sex is very matter-of-fact. Yes, folks who are unmarried have sex--something which I didn't think was invented until the 1980s. Mildly interesting at best, I just cannot see most people giving a darn about this one. Be forewarned about all the hype.

That review summary may sound very confusing and oxymoronic, but it does show how complex my feelings were watching 'L'avventura'. 'L'avventura' is a film that captivates many people, those that consider it a timeless masterpiece and a quintessential character study on alienation and psychological sterility, but still troubles just as many people, those that don't find themselves investing in what the film is trying to say or the overall film itself.

Both opinions are completely understandable, this is not going to work for everybody. 'L'avventura' was not a film highly regarded straight-away, that reputation was garnered over-time. In fact at the time it was met with booing at Cannes and criticisms of it being immoral. To be honest, it took me more than one viewing to have the opinion had now, on first viewing it alienated me with its portrayal of its themes being a shock to me and not investing in the characters (the slow pace was not an issue),while still acknowledging its importance and what people saw in it as that was easy to see. Gave 'L'avventura' another viewing after it was recommended giving it another chance, and found myself loving it and appreciating it far more.

'L'avventura's' weakest element is the character writing and development, which are shallow and vague.

However, 'L'avventura' also has so much working in its favour. First and foremost, it looks wonderful with some truly beautiful and atmospheric locations and some of the best and most vivid cinematography of the 60s and ever, it really is a masterpiece of cinematic technique. Michaelangelo Antonioni directs exceptionally, it was the film that put him on the map and to this day it is one of his best and features some of his most accomplished directing. Haunting use of sound too.

Didn't find myself bored, despite the slow pace and was fascinated by the frank brutality of the subject matter, ground-breaking and also shocking at the time, but it also allowed for some very beautiful and powerful moments too, depicting the characters' emotional states that become increasingly fraught, that made it such a captivating experience. The acting keeps one riveted, with Monica Vitti and Gabriele Ferzetti especially unforgettable.

All in all, divisive and troubling but brilliant and ground-breaking. 9/10 Bethany Cox