From The Passenger, with Jack Nicholson, directed by Michelangelo Antonioni, 1975.
David Hudson is assembling links to updates and tributes at The Daily Notebook.
Maria Schneider, 1952-2011
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Perfect choice of pictures.
So beautiful it breaks my heart.
Lord Henry said it right, I would have to gone to this passage in The Passenger too.
Those are nice, Glenn, but I thought you of all people would have put up some shots from Rivette’s Merry-Go-Round.
All I can think of now is how badly Kinski slammed her in his autobiography.
God, yes, my favorite scene, even beyond the legendary penultimate tracking shot (I adore the anonymous “life goes on” actual ultimate shot even more). I may have little love for David Thomson, but damned if he didn’t nail The Passenger as one of the greatest films of the 70’s for a good stretch while the film was more or less out of circulation. I am also with Jake where Ms. Schnieder’s, er, middle period is concerned and Kinski’s infamously dubious, batshit-uninhibited memoir sizing up her delicate condition as the time was, past as prologue, indelicate.
Elmore Leonard also talks up THE PASSENGER quite a bit in his novel KILLSHOT, which I always thought was interesting.
I’ll echo many of the sentiments already present here. In particular those of James, though I’d go as far as to say this is probably my favorite sequence in the film which itself is my absolute favorite of the 70s. Transcendent.
Yeah, great screen caps. That high angle over the car, with the red leatherette (or whatever that fabric is) backgrounding the abundant, messianic Exemplar of Youth (Schneider, looking behind) and the receding hairline of the disillusioned Old (Nicholson, looking forward) is Antonioni at his greatest.
“The disillusioned Old”? Nicholson was only 38.