328:, where Paola spent much of her youth. The detective soon discovers that she was best friends with two girls in town. He goes to the apartment of one of her friends, Matilde, and learns from her husband that Matilde's friend Giovanna Carlini died in a tragic elevator shaft fall a few days before she was to be married to Guido Garroni, a local boy with whom Paola had also been involved. When the sullen Matilde arrives home, she refuses to cooperate with Carloni. After the detective leaves, Matilde writes a letter to Guido, alerting him that a suspicious man is investigating Paola's past.
341:
Meanwhile, Carloni's investigation intensifies, as he finds out more about the mysterious accident in the elevator shaft, Paola's sudden disappearance, and Guido's role in all this. He learns from
Giovanna's maid that Paola and Guido were with Giovanna when she fell to her death, and that they did not cry out or rush to her side to see if she was still alive. He also learns that Paola left Ferrara two days after the accident and met her future husband shortly thereafter in Milan—never telling him about her friend's death.
324:, Carloni is looking through photographs of an attractive young woman, Paola Molon Fontana, given to the agency by her wealthy industrialist husband, Enrico Fontana. The couple were married seven years ago, shortly after meeting each other. Fontana's recent discovery of these old photos have aroused his suspicion, and Carloni is hired to uncover whatever he can about Paola's life before her marriage. Carloni travels to the town of
349:. Later they meet on a bridge over a desolate canal that Fontana crosses on his way home. Guido plans to shoot him as he approaches the bridge. Paola pretends to have second thoughts, accusing Guido of being responsible for Giovanna's death—he saw the elevator door open and did not warn her. Guido reminds her that she too did nothing to warn her friend, and that they will both be responsible for this death as well.
42:
498:
magazine, Dan
Callahan gave the film four stars, calling it a "new type of reflective cinema ... dedicated equally to the interior lives of actor 'models' and the obscure surfaces of the photographed world". Callahan dismisses the "seemingly standard noir subject" and praises the "unsurpassed beauty
503:
It's extremely difficult to follow the film scene by scene; the camera wanders away from people and makes radical choices in what it wants to look at and linger over. What at first seems like clumsiness finally falls away and something highly original takes its place: an ambiguous meditation on the
352:
Pressured to complete his investigation as soon as possible, Carloni writes of the affair and suspicious circumstances surrounding her friend's death, and submits the report to
Fontana. Upset by the revelation, Fontana gets in his car and drives home along the canal road, where Guido is waiting. As
589:
The cause of
Fontana's death is left ambiguous. After learning of his wife's infidelity, he drives off at high speed and most likely lost control of the car along he canal road. From the bridge, however, Guido hears two bangs that sound like gunshots coming from the scene of the accident. Later in
356:
Soon after, as police arrive at her home to inform her of the accident, Paola runs off, thinking they've come to arrest her. She meets up with Guido who informs her about her husband's death and that he was not involved. After Paola declares her love for Guido, he agrees to meet her the following
340:
lake, Guido, who is now a struggling car dealer, shares
Matilde's letter with Paola. The thought that someone is digging into their past frightens Paola, making her think that perhaps Matilde is trying to extort money from her. With their former attraction rekindled, the two agree to meet again.
344:
In the coming days, Paola and Guido's once-casual reunion escalates into a full-blown passionate affair played out in rented rooms. To help Guido earn money, Paola arranges for him to be the middleman in a car sale that doesn't work out. As their affair progresses, Paola's frustration with her
443:, Salvador Dali's wife." Bosè, however, also spoke about difficulty she experienced working on the film's set due to Antonioni's strictness. She recalled a particularly bad day in which, after shooting 40 takes, she broke character and laughed in response to assistant director
353:
the car approaches, Guido hears the sound of a car crash in the distance. He leaves the bridge on bicycle and rides to the scene of the accident, where
Fontana's overturned car is engulfed in flames. Fontana's dead body is lying nearby.
335:
opera house dressed in a white fur coat with her husband and friends, she is startled to see Guido standing across the street. Later that night, she receives a phone call from him and they agree to meet the following day. At
763:
431:'s house. Antonioni was desperately searching for a female lead for his next film at the time, and Visconti recommended Bosè to him. Initially skeptical of her maturity, he selected her for the role after an audition.
447:'s humorous attempt to defuse the tension on set. Antonioni approached her in a fury and slapped her in front of everyone. Bosè refused to lose her temper, composed herself, and requested to continue filming.
499:
of
Antonioni's visual art" which lifts the story and hollow characters "into the exalted realm of the senses", transforming noir into "existential poetry". Callahan concludes:
345:
loveless marriage leads her to suggest to Guido that her husband's death would benefit both of them. At first Guido is repulsed by the suggestion, but is influenced by Paola's
305:
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439:
In a 2018 interview, Bosè commented, "On that set, for the first time, I felt beautiful; I wore wonderful dresses and amazing hats similar to those of
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705:
301:
Award for Best
Original Score (Giovanni Fusco) and the Special Nastro d'Argento (Michelangelo Antonioni) for "human and stylistic values".
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764:"Intervista a Lucia Bosè, un vita dipinta di blu tra angeli e artisti. Grazie all'esempio di San Francesco sono felice"
291:. In the film, the camera pans the same street corner in Ferrara, the director's native city, that appears in his film
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in lead roles. Despite some neorealist background, the film was not fully compliant with the contemporary
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312:, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."
277:
style both in its story and image, featuring upper-class characters portrayed by professional actors.
1247:
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659:. Garland Reference Library of the Humanities. Vol. 1333. Garland Publishing, Inc. p. 255.
943:"Cronaca di un amore", un film di Michelangelo Antonioni. Quando un'opera prima è già un capolavoro
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was, however, a fashion designer rather than a professional actor. Its story was inspired by the
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the taxi, Guido tells Paola that he saw a hole in
Fontana's throat "as if he'd been shot".
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732:"Storia 'diversa' del cinema: Quando eravamo i più bravi del mondo – Parte IV"
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day. As he steps into the taxi, he asks to be taken to the train station.
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The
Architecture of Vision: Writings and Interviews on Cinema
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706:"Ecco i cento film italiani da salvare Corriere della Sera"
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614:(Cinema d'Aujourd'hui No.2), Éditions Seghers, page 23
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297:forty-five years later. In 1951, the film won the
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946:. Grandi film restaurati (in Italian). Lindau.
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812:
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940:Kezich, Tullio; Levantesi, Alessandra (2004).
1006:
617:
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656:International Film Prizes: An Encyclopedia
40:
911:
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504:emptiness of upwardly mobile modern life.
1278:Films directed by Michelangelo Antonioni
935:. Hollywood Quarterly. pp. 389–400.
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427:1947, first met Antonioni over lunch at
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762:Marcella, Domenico (31 January 2018).
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626:"We're Not Happy and We Never Will Be"
304:In 2008, the film was included on the
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306:Italian Ministry of Cultural Heritage
247:), released in the United Kingdom as
1217:"The Dangerous Thread of Things" in
730:Farinotti, Pino (20 November 2022).
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456:FERT Studios, Turin, Piedmont, Italy
378:Gino Rossi as Carloni, the detective
24:
331:Back in Milan, as Paola exits the
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768:www.sanfrancescopatronoditalia.it
912:Antonioni, Michelangelo (1996).
881:Callahan, Dan (6 October 2005).
263:feature-length directorial debut
381:Marika Rowsky as Joy, the model
1283:Films scored by Giovanni Fusco
723:
698:
673:
604:
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288:The Postman Always Rings Twice
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1:
1253:Italian black-and-white films
571:
409:
310:100 Italian films to be saved
1288:1950 directorial debut films
1263:1950s Italian-language films
653:Hammer, Tad Bentley (1991).
624:Johnson, Ian (August 2006).
399:Vittoria Mondello as Matilde
7:
933:Notes on Five Italian Films
864:Kezich & Levantesi 2004
852:Kezich & Levantesi 2004
840:Kezich & Levantesi 2004
825:Kezich & Levantesi 2004
813:Kezich & Levantesi 2004
801:Kezich & Levantesi 2004
789:Kezich & Levantesi 2004
405:as Fashion show presentator
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630:Bright Lights Film Journal
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1150:Identification of a Woman
1054:The Lady Without Camelias
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610:Leprohon, Pierre (1965):
546:Special Nastro d'Argento
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468:, Milan, Lombardia, Italy
390:Rosi Mirafiore as Barmaid
320:At a detective agency in
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189:11 October 1950
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883:"Story of a Love Affair"
1199:"Attempted Suicide" in
1142:The Mystery of Oberwald
931:Venturi, Lauro (1951).
549:Michelangelo Antonioni
462:, Emilia-Romagna, Italy
360:
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1038:Story of a Love Affair
1023:Michelangelo Antonioni
981:Story of a Love Affair
970:Story of a Love Affair
916:. New York: Marsilio.
612:Michelangelo Antonioni
506:
419:The nineteen-year-old
375:as Paola Molon Fontana
347:emotional manipulation
259:Michelangelo Antonioni
242:
234:Story of a Love Affair
95:Michelangelo Antonioni
68:Michelangelo Antonioni
56:Michelangelo Antonioni
35:Story of a Love Affair
1208:"The Screen Test" in
501:
737:Rolling Stone Italia
559:Best Original Score
478:Planetario di Milano
253:, is a 1950 Italian
1293:1950s Italian films
1258:Italian drama films
250:Chronicle of a Love
244:Cronaca di un amore
18:Cronaca di un amore
1273:Films set in Milan
1268:Films set in Italy
1021:Films directed by
494:In his review for
474:, Lombardia, Italy
275:Italian neorealist
76:Silvio Giovannetti
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1158:Beyond the Clouds
953:978-88-7180-523-8
666:978-0-8240-7099-1
569:
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490:Critical response
451:Filming locations
396:as Paola's friend
387:as Enrico Fontana
294:Beyond the Clouds
265:. The film stars
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80:Francesco Maselli
27:1950 Italian film
16:(Redirected from
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890:. Retrieved
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772:. Retrieved
770:(in Italian)
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742:. Retrieved
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197: (Italy)
182:Release date
167:Villani Film
133:Enzo Serafin
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1169:Short films
1078:L'Avventura
774:14 December
744:14 December
690:13 December
394:Rubi D'Alma
100:Produced by
52:Directed by
1243:1950 films
1237:Categories
1102:Red Desert
572:References
425:Miss Italy
423:, who was
421:Lucia Bosè
410:Production
373:Lucia Bosè
271:Lucia Bosè
255:drama film
210:98 minutes
193:1950-10-11
160:Production
120:Lucia Bosè
1094:L'Eclisse
1062:Le Amiche
598:Citations
522:Category
466:Idroscalo
338:Idroscalo
139:Edited by
46:DVD cover
1086:La Notte
1070:Il Grido
986:AllMovie
715:11 March
635:25 April
333:La Scala
223:Language
149:Music by
108:Starring
92:Story by
1046:I Vinti
528:Result
485:Release
460:Ferrara
435:Filming
415:Casting
326:Ferrara
261:in his
239:Italian
226:Italian
215:Country
191: (
176:Fincine
162:company
1223:(2004)
1214:(1965)
1205:(1953)
1196:(1949)
1188:(1948)
1180:(1947)
1161:(1995)
1153:(1982)
1145:(1980)
1137:(1975)
1129:(1972)
1121:(1970)
1113:(1966)
1110:Blowup
1105:(1964)
1097:(1962)
1089:(1961)
1081:(1960)
1073:(1957)
1065:(1955)
1057:(1953)
1049:(1952)
1041:(1950)
950:
920:
892:19 May
681:"1951"
663:
516:Award
509:Awards
285:novel
577:Notes
543:1951
519:Date
496:Slant
472:Milan
322:Milan
218:Italy
1220:Eros
1185:N.U.
975:IMDb
948:ISBN
918:ISBN
894:2013
776:2023
746:2023
717:2021
692:2023
661:ISBN
637:2012
565:Won
552:Won
532:Ref.
441:Gala
361:Cast
316:Plot
269:and
984:at
973:at
308:'s
1239::
885:.
871:^
832:^
766:.
754:^
734:.
708:.
645:^
628:.
241::
1014:e
1007:t
1000:v
956:.
926:.
896:.
778:.
748:.
719:.
694:.
669:.
639:.
237:(
195:)
20:)
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