WOMAN WITHOUT CAMELIAS

Italy, 1953, 105 minutes, Black and white.
Lucia Bose, Gino Cervi, Ivan Desny, Alain Cuny.
Directed by Michelangelo Antonioni.

Woman Without Camelias was the third feature by Michelangelo Antonioni. Antonioni wrote and made documentaries until 1950 and then directed Story of a Love Affair. His interest in human relationships, the focus on men and women in society (especially a society with class distinctions of people moving from one class to the other) was to be of interest through out his long career.

This film has the Italian film industry of the early '50s as its background - both serious and comic. The film focuses on Italian society and expectations of men and women. Antonioni with his compositions and angle photography is able to explore character, character reaction and situate it with background images serving as symbols.

Lucia Bose was the heroine of his first film and is most attractive (perhaps not persuasive as a shop girl) as the heroine. Gino Cervi (later to be the Mayor in the Don Camilla films) is a genial producer. A young Ivan Disney is the callow diplomat with whom the heroine falls in love.

The film reflects the Italian black and white film-making style of the times - but also is seen in retrospect as a preparation for Antinion’s intense films of the '60s and his explorations of the '80s.

1. The work of Michelangelo Antonioni? Its impact? Contribution to Italian cinema? This film seen in retrospect?

2. Italian realism of the '40s and '50s? The meaning of Italian society at the time? Authentic atmosphere, locations? Black and white photography? Antonioni's skill in compositions, lighting? Creating character, tension? The musical score?

3. The atmosphere of realism in characters and situations? Yet the artificial world of filmmaking and success? The 'real world of film-making and its artificiality?

4. Portraits of men and women? In themselves, in relationship? Italian context? Love, relationships, expectations, demands, passion, exploitation?

5. The theme of transition from class to class? Clara and the opening of the film (her background, parents, Milan, work in the shop, her employer, and his later pleasure in her success), her being taken into the world of film? Her pacing up and down in front of the theatre and reactions to her film? The change in her life at 20, publicity and success, wealth? Expectations of manners, moral situations? Her work in film, her relationship with Gianni? Her being trapped in a career and marriage? Yet her allowing it? The glamorous star - yet always out of place in this artificial and glamorous world?

6. The portrait of Clara, talent or not? Her instant success? Gianni's choice and control over her? Her rehearsal for the sex epic? Worry about the censor? The type of film for which she was suitable? Gianni's sudden proposal, her confiding in her friend, her doubt about the marriage, his bringing her parents to visit and forcing her consent? Her allowing herself to marry? The aftermath and the delay in returning for filming? Gianni's tantrum? His not wanting her to appear in the popular kind of film? His seemingly puritanical reasons, his prim preservation of his wife's reputation? The decision for her to be Joan of Arc (and the echoes of Ingrid Bergman's film, even in the visual scene at the Venice Film Festival)? Clara at Venice, her being welcomed, the reaction to the film, her leaving? Discussing the reactions in the train with Gianni? The encounter with Nardo? His following her after the premiere, sympathetic? Her meeting him in Rome, the background of the desolate meeting-place, his proposal and her turning him down, her concern? His return home to his apartment and her presence there? The beginning of the affair and the irony of her returning home to Gianni's attempted suicide? The isolated experience of Clara? having to refuse film offers? The discovery about Gianni's financial situation and her continuing the initial film? The discussion with the actor and his theory about the quality of commitment to acting? Her not attending the premiere of 'Woman Without a Destiny'? The phone calls, her mother, not speaking to Gianni, her leaving him after the reviews ? leaving the letter despite Nardo's insistence? Going off with Nardo and discovering his callow attitude? The phone call to the hotel and Gianni's reaction? Her being alone, changing her appearance, cutting her hair, time passing? Her visit to the studio ? and people gossiping as she went past? Asking Gianni for a job? The producer of the popular sex and costume romps wanting to sign her? Her decision to sign the contract? Her ringing Nardo and committing herself to him? Her trying to smile for the camera? the final glimpse? What future?

7. Clara's relationship to men - Ercolino as friend and mentor? Giovanni as controller. husband, employer? Nardo as charming diplomat, lover, exploiter?

8. The portrait of Ercolino and his role in the film industry, help, reliability? Relationship with Gianni?

9. Gianni as producer, controller, making decisions for others, the passionate marriage, his protectiveness, jealousy and its stupidity? His financial difficulties? His freedom after Clara left him? Successful career?

10. Nardo and his work, friends, the affair, setting it up, the hesitation, following Clara, propositioning her - audience response to her committing herself to him at the end?

11. The world of filmmaking, glamour and artificiality? The contrast with Clara's parents, her previous employer?

12. Antonioni's insight into human nature, passion and relationships?