Download Il Grido (1957 film) by torrent

In rage he dished out unforgivable physical violence in public on her, and with a broken heart, picks up his daughter Rosina Mima Girardi to embark on an aimless road trip, wandering all over Po valley which was the subject of one of Antonioni's early documentary. Shot in the great outdoors, there's always a lingering mist in the first half of the movie, as if to accentuate Aldo's state of uncertainty and blur in his current state of life, without a clue what lies ahead as he drifts from location to location, and from person to person, as if like a person on a rebound, latching onto every opportunity that present itself to him, but all this while having absolutely no plans and unsure of what to do.

While he seeks out his first love Elvia Betsy Blair and there comes this speed boat race, I thought Il Grido really picks up when he wanders toward a highway petrol kiosk, and meets with Virginia Dorian Gray and her alcoholic aged father played by Guerrino Campanini.

Romancing the lady boss for food and lodging, having his daughter at his side demonstrated in truth that his relationship with and welfare for his daughter takes precedence over everything else, so while on the surface he might seem aimless, deep down he still bears a sense of responsibility to provide for Rosina, which probably gave him an invisible guiding hand in what he was doing, until of course he clinically evaluated and decided otherwise.

As he goes from woman to woman, having short temporal relationships with everyone we see on screen from Elvia to Andreina Lynn Shaw , each played out like small skits, but a common thread running through it is that the characters here seem to be people who have wasted away their prime, missed the boat and are holding out for one last possibility at true love and happiness. Irma found hers although at Aldo's expense, and everyone else demonstrated memories with loved ones whom they cannot forget.

The ending is nothing less than heart- wrenching, a discovery and affirmation of sad truths when people indeed have moved on, but then you realize that insofar you're still stuck in a rut. Very depressing if you ponder over it. The last act also dwelt on impending change, with landscape changes ordered from the top, with common people on the ground being forced to accept these changes, with little regard to their livelihood.

I thought it provided a poignant moment to reflect upon such frenzy, and sometimes the insensitivity that comes together with forced policies probably, and hopefully for the greater good. MOscarbradley 8 August In the Antonioni canon "Il Grido" is often cited as one of his lesser works, superseded by the trilogy that began with "L'Avventura" and even his later English-language films, "Blow Up" and "The Passenger".

Granted this remarkable film doesn't quite hit you between the eyes in the way others do but remarkable it is, a grim tale of working-class misery set in a misty, wet Po Valley and concerned, like much of Antonioni's work, with a loss or lack of love.

Perhaps the critics of the time weren't too happy with Antonioni's decision to cast the American Steve Cochran as the brutish anti-hero Aldo. Cochran had to be dubbed as did a number of his co-stars, including Alida Valli and Betsy Blair. In his own country Cochran was never rated as much of an actor but he is superb here as a man deserted by the woman he had hoped to marry, Valli , and who then takes to the road with his young daughter.

If anything, the film is proof that Antonioni wasn't just a great chronicler of upper and middle-class angst but someone who could deal with the universal themes of loss and grief. It's certainly downbeat. From the outset it's a film that offers no hope for its characters and is probably the director's most pessimistic work.

His use of location is, of course, crucial; its bleakness mirrors its characters lack of hope and Cochran's Aldo is one of cinema's great existentialist working-class heroes while, even dubbed as here, both Valli and Blair are excellent and Gianni Di Venanzo's cinematography is superb. This is a film crying out for rediscovery and simply shouldn't be missed. Forces that move us chaos-rampant 27 May Antonioni is one of the sages of cinema, perhaps the wisest of them.

His cinema is a stunning edifice; a structure rigid and harmonious as shaped by a visual vocabulary which articulates with few words a place and a time; pattern and blueprint, whereby each film as individual level informs and is informed by the whole; these levels filled with doors to insight and intuition. To all these doors he holds the keys, and in the spaces behind the doors, which are closed to most filmmakers, he moves freely and sees everything.

Meditation as stillness of mind, which enables awareness. Naturally some of these levels are more aptly functional, staircases that lead higher. Il Grido is one of those and La Notte later. Nonetheless we see here the early sketches of what is to come. We see a man cast adrift after a painful breakup as passing through various lives, affecting them with shortlived passions and vexations. Each of these lives he briefly shares could be a possible new home, a safe harbor where peace and happiness are finally possible.

But he moves on, still clinging to a mad hope and frustrated desire that his old affair could resume at any point. So this is the fascinating stuff. A man alone, itinerant, ostensibly free to be what he may, but captive of his desires so that he's nothing at all, except perhaps a painful memory. The downward spiral into squalor and misery is not simply the upkeep of a bad karma, but a reminder of what fuels the restlessnesss. What negativity keeps him going, regret or unfulfillment, will only be encountered ahead of him, it cannot be escaped by running from it.

In passing through these phases the film perhaps stalls for too long. We understand what is going on, the proverbial journey of an empty, unfulfilled life, but Antonioni wants to shape these lives as lived, meaning we get the mundane details of their routine. The comings and goings and side characters, as vignettes. For the end Antonioni reserves defeaning symbolism, by contrast to the hazy allusions he would favour onwards.

The man climbs on the refinery tower, the place and time where he was for once happy in his life and which now seems impossible to attain again, and we don't even have to guess what happens next. RodrigAndrisan 21 September Steve Cochran looks so much like Sean Connery, you can say he's his twin brother. Twin but licensed to kill only himself, at the end of the film, to make it as dramatically as possible, to increase the drama.

Because it's a drama, a drama with some exceptional acting performances, Steve Cochran himself, in the lead role, then his daughter, the excellent little girl Mirna Girardi, and then the adult women, Alida Valli, the only one who was really loved by the character played by Cochran, Dorian Gray, the beautiful gas station attendant, Betsy Blair, an old friend, Gabriella Pallotta, a young woman from the home of the character played by Betsy Blair, and the beautiful Jacqueline Jones, a woman ready to sell her body for food.

Antonioni, a hypersensitive director, well acquainted with human nature. And one of my favorite directors, after Fellini. Unique amongst the Antonioni films I've seen, in that it has a lower class and sympathetic lead character. A worker is rejected by his long time lover when he asks to marry her, and takes their shared 7 year old daughter and hits the road in response, meeting and struggling with various women along the way.

A much more naturalistic and neo-realist film than other Antonioni films, interesting and moving, with a much clearer POV and story. It's also very well shot, although in a more subtle, less breathtaking way than his other work. But it does succumb to melodramatics at times, and the acting is OK, not great.

There's also a touch of misogyny. But this is still a solid work by a master film-maker, so worth checking out if Antonioni is of interest to you. IL Grido The Cry is a bleak Italian drama of a young de facto husband and father Aldo, played by Steve Cochran , trying unsuccessfully, to overcome his grief at his relationship falling apart.

Beautiful Alida Valli plays his 'partner' Irma who has taken up with another man. She's unsure if she's making the right decision but as she's done this sort of thing before, it appears maybe she has an unstable mental condition. So their collaboration stretched further back, even before L'Avventura.

The story centers on a working class sugar refinery worker Aldo American actor Steve Cochran who we learn has waited for 7 years cohabiting with Irma Alida Valli , whose husband had recently passed away while in Australia. Thinking that this is a blessing in disguise in that he can finally marry Irma, Aldo gets the biggest surprise when he learns that the love of his life had in the last 4 months, given her heart to someone else.

In rage he dished out unforgivable physical violence in public on her, and with a broken heart, picks up his daughter Rosina Mima Girardi to embark on an aimless road trip, wandering all over Po valley which was the subject of one of Antonioni's early documentary.

Shot in the great outdoors, there's always a lingering mist in the first half of the movie, as if to accentuate Aldo's state of uncertainty and blur in his current state of life, without a clue what lies ahead as he drifts from location to location, and from person to person, as if like a person on a rebound, latching onto every opportunity that present itself to him, but all this while having absolutely no plans and unsure of what to do. While he seeks out his first love Elvia Betsy Blair and there comes this speed boat race, I thought Il Grido really picks up when he wanders toward a highway petrol kiosk, and meets with Virginia Dorian Gray and her alcoholic aged father played by Guerrino Campanini.

Romancing the lady boss for food and lodging, having his daughter at his side demonstrated in truth that his relationship with and welfare for his daughter takes precedence over everything else, so while on the surface he might seem aimless, deep down he still bears a sense of responsibility to provide for Rosina, which probably gave him an invisible guiding hand in what he was doing, until of course he clinically evaluated and decided otherwise.

As he goes from woman to woman, having short temporal relationships with everyone we see on screen from Elvia to Andreina Lynn Shaw , each played out like small skits, but a common thread running through it is that the characters here seem to be people who have wasted away their prime, missed the boat and are holding out for one last possibility at true love and happiness. Irma found hers although at Aldo's expense, and everyone else demonstrated memories with loved ones whom they cannot forget.

The ending is nothing less than heart- wrenching, a discovery and affirmation of sad truths when people indeed have moved on, but then you realize that insofar you're still stuck in a rut.

Very depressing if you ponder over it. The last act also dwelt on impending change, with landscape changes ordered from the top, with common people on the ground being forced to accept these changes, with little regard to their livelihood. I thought it provided a poignant moment to reflect upon such frenzy, and sometimes the insensitivity that comes together with forced policies probably, and hopefully for the greater good.

Details Edit. Release date October 9, Portugal. Italy United States. The Outcry. Stienta, Rovigo, Veneto, Italy. There are other elements and images that could be connected and contrasted too — speedboats versus an old-fashioned fishing lifestyle, for example. You are commenting using your WordPress.

You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Skip to content. Share this: Twitter Facebook Email. Based on a story by Michelangelo Antonioni, Il Grido concerns industrial mechanic Aldo Steve Cochran , and the occurrences in his life after his seven-year affair with a married woman comes to an end. Directed by Antonioni and released in , there's a developmental nature to the film that finds the Italian filmmaker still shaking off the impact of neo-realism.

It's a relatively sad tale that shows Antonioni having one foot in the past and the other suggesting where his future would take him. It's all in tune with much of the subject matter of the era and concerns…. Since more than a month ago I had written here in Letterboxd a review of Accattone, which caused many friends, acquaintances and users to be left with a bitter taste for what I had written on that occasion. So my option was to see something similar.

This is why I decided to see Il Grido since its plot has certain similarities to Pasolini's film. The first truly great film I've seen from Antonioni. Moody photography, desolate landscapes, and a totally depressing ending, IL GRIDO is the kind of blackish cinema that speaks directly to how dour my taste can be. A pastoral road movie not too unlike Fellini's LA STRADA that reflects the gray and cheerless world of Italian neorealism, even as it elliptically reaches towards dreamier heights and poetic visuals draped in fog and misery.

Antonioni sets the story apart from previous films by focusing on working class despair, as opposed to hollow bourgeoisie, and the results are perfectly hopeless in all the most moving ways.

Unremarkable Fellini-esque melodrama a never-before-said sentence , performances are a little more nuanced than those in 'La Strada' or 'Nights of Cabiria'. What is surprising then is how well this stylistic approach, which on paper sounds like a bad mixture,….