Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

It expresses the alienation that the upper-middle and

Posted by tinear on December 1, 2020 at 14:24:53:
upper classes felt, post-WWII. Economy rebounding, consumerism rampant--- but marriage, the bedrock of bourgeois society and an accurate gauge of social health, was floundering. Also, Italy went all in to fascism--- and after that catastrophe, there was a collapse in general mores. After all, Italy was an extremely Catholic country--- and the Church had a go-along, get-along relationship with it.
Two great European actresses, Jeanne Moreau (the wife) and Monica Vitti (the interest), perfectly embody this cynical result, with Marcello Mastroianni providing the male role, linking the two women's worlds.
But as anyone familiar with Antonioni knows, it is the style--- the cinematography, editing, and music--- that tell the story: he is the most visual of great directors.