“EUR came as result of Italy’s miraculous economic boom in the post-WWII period when the country’s landscape was forever changed as man-made structures began to dominate, cities expanded and rural areas became suburbs. Although EUR was commissioned by Benito Mussolini in 1935, it was not completed until the 1950s. Italians found its rather odd geometric shapes and sterile surfaces inconsistent with the sensuousness of their culture. Antonioni, on the other hand, was inspired. He was curious about what psychological effects this environment could have on people.
“In The Eclipse, Antonioni transforms EUR into a sci-fi-esque backdrop for the existential anguish of Vittoria (Monica Vitti), a young bourgeoisie woman and translator. For much of the film, Vittoria wanders around EUR puzzled by its apathetic residents and bland modernist architectural design. It’s as if she is living on a distant alien planet at odds with human feeling. After her miserable break-up with Riccardo (Francisco Rabal), she becomes reluctant to start a new relationship with Piero (Alain Delon), a materialistic stockbroker. She doubts whether genuine love is even possible in a place like EUR.
“The Eclipse concludes with a chilling seven minute abstract sequence that brings the incompatible relationship between Vittoria and Piero and to their surroundings full circle. After they make love and promise to see each other again that night at their meeting place, Antonioni’s camera lingers on the iconography of EUR, which he had established in the first two acts of the film – the rows of housing complexes, the mushroom-shaped water tower, the white lines of the crosswalk, a wooden stick that Vittoria put in a barrel of water, a horse-drawn carriage passing by, etc. He intersperses these images with varying angles of Vittoria and Piero’s meeting place – both from ones we have seen before and newer ones, including wide shots connecting the half-built housing project, a metaphor for the incompleteness of their relationship, with the contours of the intersection.
“The difference this time is that Antonioni almost completely vacates the environment. Our focus instead turns toward its geometric lines, spaces and objects, while we contemplate the glaring absence of Vittoria and Piero, who, for some reason, have not showed up at their agreed upon time and place. In this way, Antonioni metamorphoses EUR into an architectural model to re-examine and investigate how its architectural and spatial design serves the characters. Although it may conform with Piero’s unfeeling material existence, its cold modernist rationality conspires against the earthier Vittoria. So when night falls and the blinding light of the street lamp fills the screen and fades to black, human feeling and Vittoria and Piero’s relationship have been obliterated.”
The Architectural Vision of Michelangelo Antonioni’s The Eclipse (1962), d visible magazine.