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Michelangelo Antonioni – Zabriskie Point (1970)

Posted By: newland

Date: 25 Jul 2009 01:57:36

Michelangelo Antonioni – Zabriskie Point (1970)
DVDrip | English | Subtitles: EN, FR, ES, PT-BR (optional) | 1:53:45 | 720x304 | H264 | NTSC 23.97fps | Audio: MP3 - 160kbps | 1.56 GB

Zabriskie Point, Michelangelo Antonioni's only American film, is an epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los Angeles desert) and dropout Mark (who's wanted by the authorities for allegedly killing a policeman during a student riot).
Antonioni's nonrealistic approach to American counterculture myths, his loose and sluggish narrative, and the dialogue caused Zabriskie Point to be poorly received when it was first released. The score features songs from Pink Floyd, The Grateful Dead, Kaleidoscope, The Rolling Stones, John Fahey, The Youngbloods and Patti Page.

This new dvd edition respects the original anamorphic ratio of the film and looks significantly better than any other dvd edition available. More details here.

Zabriskie Point, director Michelangelo Antonioni's only American film, is an unusual, visually stunning examination of youthful rebellion against the Establishment. The film, initially presented in quasi-documentary style, presents a group of college activists discussing key issues of their political agenda. Mark (Mark Frechette) steals an airplane and flies over a desert where he meets Daria (Daria Halprin). She is the pot-smoking secretary to businessman Lee Allen (Rod Taylor), while he is a rebel searching for a worthy cause. In the midst of the arid surroundings, Mark and Daria fall in love. Antonioni's nonrealistic approach to American counterculture myths, his loose and sluggish narrative, and the dialogue (credited to Fred Gardner, Sam Shepard, Tonino Guerra, Clare Peploe, and Antonioni) caused Zabriskie Point to be poorly received when it was first released. The score features songs from Pink Floyd, The Grateful Dead, Kaleidoscope, The Rolling Stones, John Fahey, The Youngbloods and Patti Page. — Linda Rasmussen, AMG

One of the American college student anthems of the early 70's, Michelangelo Antonioni's Zabriskie Point is a film almost entirely governed by emotion. This was his only U.S. made film and followed on the heels of his most successful movie; Blowup. Whether it accurately encapsulates the feeling or the changing mood of the era it professes to explore is, as with all of his films, an entirely personal experience. With an occasionally used violent narrative twist in the finale (see The Passenger) pointing to a fervent hatred of the establishment, many might consider this Antonioni's most pretentious work. With intentional absentee dialogue, exquisitely composed landscape framed backdrops, and a moody soundtrack, featuring The Grateful Dead to Pink Floyd, this film experience enforce-ably leaves a very eventful dent in Antonioni's oeuvre. One which his critics consistently may harken back to in support of their pans. In defense, his cinema never fails to leave a powerful and lingering effect and this is a very strong case in point. From expressions of sand-dusted free-love to government sanctioned police 'enforcement' we are caught in an almost montage sequence of the late 60's social consciousness uprising. In closing, this film will not appeal to many, but for the director's following it is an important watershed production in his career. — Gary W. Tooze, DVD Beaver

Michelangelo Antonioni's first American film is, in many circles, a legendary debacle, an indulgence of some of the director's worst elliptical, impressionistic, and baldly absurd habits. Taken on another level, however, Zabriskie Point is a sensual, atonal fantasia on the late '60s, a film perhaps not meant to be taken too seriously. At least, one can only hope. Taken from an over-earnest script cobbled together by four writers – including the young Sam Shepard – and featuring a blankly attractive cast of amateurs, Antonioni's film is full of ridiculous plot lines and character traits, chief among them a counterculture hero (Mark Frechette) whose means of challenging the establishment includes answering the phone by saying "Goodbye?" But Antonioni is more interested in creating visual non-sequiturs than verbal ones, and in this respect, his film doesn't disappoint. The director's use of barren Southwestern landscapes suggests an oasis from all the urban political turmoil, however improbable, famously exemplified in Zabriskie's sand-swept orgy sequence. And the climactic, Pink Floyd-scored demolition of a bourgeois desert home, while thematically obvious, is still a treat to watch. — Michael Hastings, AMG

Zabriskie Point has not been favorably greeted by the American press. The reasons were obvious. Antonioni has been experimenting with film form ever since he started. Throughout his entire career he has been more interested in capturing moods and conveying emotions rather than tell classically constructed narratives. It should therefore not have been a surprise that Zabriskie Point mostly discarded a plot and concentrated on making the viewer experience a certain time and place. We don't get to find out much about Daria and Mark, the ostensible protagonists of Zabriskie Point, but rather follow them on a trip through consciousness and 1960s iconography. (…)
Zabriskie Point is a film of great complexity, something that we should all expect from Antonioni. It is packed with wonders and marvels in every corner of the frame and reveals profound truths about where we were and where we're going to be that resonate much more deeply than anything we may find in Easy Rider. Don't let the challenging and unconventional style of Antonioni throw you of balance. Just let his vision of man wash over you with its dazzling array of imagery and sound. And then see it again. And think about it. — Stan Czarnecki, DVD Beaver

IMDB review — DVD edition (Warner US)

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