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A grainy encounter between David Hemmings and Vanessa Redgrave in the park. Today, you rarely hear it mentioned. Freed from the hype and fashion, it emerges as a great film, if not the one we thought we were seeing at the time. Then I found the spell of the movie settling around me.
Antonioni uses the materials of a suspense thriller without the payoff. He places them within a London of heartless fashion photography, groupies, bored rock audiences, languid pot parties, and a hero whose dead soul is roused briefly by a challenge to his craftsmanship.
The depths of his spiritual hunger are suggested in three brief scenes involving a neighbor Sarah Miles , who lives with a painter across the way. Thomas wanders into a park and sees, at a distance, a man and a woman. Are they struggling? He snaps a lot of photos.
The woman Vanessa Redgrave runs after him. She desperately wants the film back. He refuses her. She tracks him to his studio, takes off her shirt, wants to seduce him and steal the film. He sends her away with the wrong roll. Antonioni cuts back and forth between the photos and the photographer—using closer shots and larger blowups, until we see arrangements of light and shadow, dots and blurs, that may show—what?