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Untitled

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The page on the Cannes Film Festival states that Fellini won the Palme d'Or in 1960? Which one is right? Alex756 05:47, 29 Sep 2003 (UTC)

It appears that it was the Special Jury Prize [1]. Alex756 05:54, 29 Sep 2003 (UTC)

They wrote up the prize on the spot. Gwen Gale 15:22, 16 February 2007 (UTC)[reply]

Untitled

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I am moving this passage to here until a source is provided:

It is the first part of a series also known as the so called Great Tetrology, which also includes La notte (The Night), L'eclisse (Eclipse) and Il deserto rosso (Red Desert).

Maltin and the other sources I am familiar with state that this film, La notte and L'eclisse form a trilogy on the "modern alienation" theme. I didn't think Red Desert was a part of the group. 209.149.235.241 22:34, 31 Jan 2004 (UTC)

L'avventura

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This is a truly awful assessment of a great film. I would have thought if you were going to take the trouble of writing about this picture, you would put more into it than that a mere cack-handed summary of the film which reads like it came from the pen of a 15-year-old. Or perhaps it did?—Preceding unsigned comment added by 195.12.20.162 (talk) 16:54, 6 September 2006 (UTC)[reply]

Spoiler Tag?

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Hi, I am a particularly big fan of this film. However, I was wondering, should some sort of spoiler notice be placed above the plot summary? Afterall, the summary has more than just general character and plot development, but an exact statement of the end scene, as well. Tulsa si elagnewg (talk) 06:37, 15 September 2008 (UTC)[reply]

Please see Wikipedia:Spoiler. — Satori Son 19:38, 15 September 2008 (UTC)[reply]

Ready to Erupt?

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  • Mount Aetna brooding behind her as if ready to erupt.

That's a very interesting psychological interpretation of the scene but its an blatantly obvious personal opinion either of who wrote that paragraph of this article or of some critic. Nonetheless, it's a personal opinion and a wrong depiction for a impartial encyclopedia. theweirdalien (talk) 01:10, 20 September 2008 (UTC)theweirdalien[reply]

It's rather stark and widely noted by critics. I've added 2 citations which should be enough. The Criterion laserdisc commentary by Gene Youngblood also notes this. Gwen Gale (talk) 01:19, 20 September 2008 (UTC)[reply]

This stirred me to strengthen the sources and add some detail to the text. Gwen Gale (talk) 11:14, 20 September 2008 (UTC)[reply]

Can someone please correct the spelling error in synopsis, "....Claudia spends a more or less sleepness night waiting for him to come back"? Sleepness I mean. —Preceding unsigned comment added by Prophetoffrivolity (talk • contribs) 12:05, 26 December 2008 (UTC)[reply]

Natalie Wood?

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The circumstances of the death of Natalie Wood stroke me as similar to the subject - unsolved disappearance of a woman from the yacht. I was sure that someone else have already noticed this, but I haven't found anything relevant on the net on that matter. Anonymous. 10:01, 9 March 2010 (EST) —Preceding unsigned comment added by 130.14.254.26 (talk)

Critical opinion in top section?

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Does some of the critical opinion in the opening section seem to anyone else a bit arbitrary and subjective? I understand the desire to summarize the historical and aesthetic importance of a film, but some of these seem to me like maybe they should be moved to the Critical Response or Legacy section? Specifically:

"The film is noted for its careful pacing, which puts a focus on visual composition and character development, as well as for its unusual narrative structure." [If this were cited it would seem more appropriate]

"According to an Antonioni obituary, the film "systematically subverted the filmic codes, practices and structures in currency at its time."[2]" -- [The link to this source is dead but the author is a respected film critic, so it seems legit; however, that doesn't seem to be the consensus view of the film's importance, and thus I'm skeptical it should be one of the first things readers learn about it. What "practices" and "structures" did it actually subvert in 1960?].

"Gene Youngblood has described this trilogy as a "unified statement about the malady of the emotional life in contemporary times."[8]" -- [This one seems to me especially subjective, but also pretty vapid and trite and thus undeserving of a top-section place. It doesn't really say anything useful about the trilogy of this film]. — Preceding unsigned comment added by Henry chianski (talk • contribs) 04:18, 8 August 2016 (UTC)[reply]

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