Il Grido (1957)

 Michelangelo Antonioni's "Il Grido"

Of all the Michelangelo Antonioni films I have seen up until this point, "Il Grido" is by far his most in-line with the neo-realist movement. Not only because he visually saturates him film in the messy, gritty visualization that can only come from low budget, but because through the wandering story of the protagonist, we venture out into an odyssey of the poor communities and lower classes as they deal with common issues. The film, on the surface, recounts the malaise of an individual man. But, through Antonioni, we are deftly painted an image of a backdrop of a lower-class that echoes this malaise and desperation. While many of Antonioni's films deal with middle and upper class malaise, "Il Grido" makes an observant point that the typical Italian neo-realist film is usually known for, but carries the typical Antonioni themes.

The film centers on a man who, after learning that his lover has cheated on him, takes their daughter away and runs off into the unknown of the Italian landscape. He comes across various women and characters who are all dealing with differing hardships and problems. He can't even seem to catch a break and eventually has to send his daughter back to live with her mother. He continues being a vagabond with no place to go until he eventually returns to his hometown to search for his former lover. When he sees her with a new child, he wanders off once again. She sees him and goes after him, noticing him at the top of a tower. She calls to him and he turns, only to faint from vertigo and fall to his death.

On top of being a neo-realist film that deals with the struggles of the working class, "Il Grido" is also known for its general coldness and its depressing nature. This is one of the reasons why the film was both a critical and commercial failure. Several publications even called the director 'cold' and 'inhuman.' Perhaps the reason for the coldness that is present in the film is Antonioni's own struggle with depression and writing the film. The film reflected this pessimistic and desperate tone that came out of Antonioni's state of mind. Because there was such a strong negative reaction to the film, Antonioni temporarily quit films and returned to his work in the theater. He eventually returned to film with his masterwork "L'Avventura" three years later.