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The Passenger

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Antonioni movies are slow paced (or as i see it not over-accelerated) in depth portraits of a transformation that takes place.. In 'L'aventura' it was the dissapearance of one of the characters and its subsequent effect on the people searching for her.. In 'La Notte' it was a transformation that took place in a marriage.. In L'eclisse Antonioni showed us a woman drifting from one relationship into another.. and so on, and so on... 'The Passenger' is another curious, enigmatic, detailed, and slow paced film that is impossible to solve or analyze to perfection - but even harder to ignore.. Antonioni's desert landscapes are the perfect backdrop for a man who seems to be so alone - and lost.. A man who changes his identity, maybe to escape his failed marriage (we can't be certain if this is the reason - everything is only hinted at) - only to face the same fate of the man whose identity he took.. This is one of Antonioni's most mysterious and most impressive films.. Jack Nicholson's performance is one of his best. This is what movies are capable of at their best.

Unlike Antonioni's two attempts at capturing the personal alienation brought about by the cultural changes of the 60s--Zabriskie Point and Blow-Up--The Passenger is a signficantly more grounded film that focuses as well on alienation, but uses a diversity of foreign cultures to underline one man's alienation from life regardless of location.

The two films prior to The Passenger, also set outside the director's native country, but now obviously dated, tried using specific individual cultural settings (America and England) to highlight the emptiness of human behavior in the face of shallow cultural values. The Passenger is a decidedly more timeless film because instead of focusing on a specific culture, it wisely focuses on an individual, a globe-trotting reporter, whose own focus is on war and revolution in third world nations.

David Locke begins to grow weary of his life that constantly exposes him to the negative forces between and within nations all too common in today's world (another reason this film is still tremendously fresh and powerful today). When another man with a similar appearance suddenly dies in a small remote African village hotel Locke himself is staying in, he assumes the other man's (Robertson's) identity and follows an international trail to keep the appointments in Robertson's little black book. This takes him from Africa to Germany to Spain.

Without giving too much away here, it becomes all too clear that Locke--now Robertson--wants to escape himself. Antonioni, in collaboration with brilliant scripter Mark Peploe, moves us with Locke/Robertson from place to place as he blindly follows his nose, or, more accurately, runs from other noses following him--one of which is his own. Another of them belongs to his wife who begins to believe her husband is still alive somewhere. Still others are those of the police. But the most dangerous noses are those of some of the same people Locke, while a reporter, passively interviewed. Now, as Robertson, his role is not so passive anymore.

In his haste to escape, Locke finds that Robertson was involved in a dangerous business that could result in the ultimate escape. This is a great film that fuses thriller elements with drama that penetrates because we see and understand what Locke thinks and does. Jack Nicholson's portrait of the escapee is right on the money; he sounds, at least half the time, as though he's not really sure that what he's saying is true, or that he can believe it--exactly what someone running from himself would sound like.

Antonioni emphasizes the isolation of people from each other in interesting visual ways. He often shoots scenes with the camera at a noticeable distance from the actors; we are physically removed from the action, and with this distance, there is the distinct feeling of what we see as observers being not really action, but a kind of indistinct or unclear version of action. As well, the camera intermittently closes up on Locke when he is doing nothing, or waiting, or is stuck in a rut (literally, in a sand rut when his vehicle is snagged in the African desert). These close-ups are a very effective counerpart to the distance shots; the first removes us from what could possibly be critical action, and the second hits us in the face with the opposite.

A real shame this is not on DVD. As of this writing (October 2003), the only DVD version is a Japanese Region 2 NTSC disc, very hard to find.

Jack Nicholson says the making of Michelangelo Antonioni's "The Passenger" was "the biggest adventure in filming I ever had in my life." That's saying plenty, and probably explains why the actor did his first solo commentary for the DVD. Nicholson clearly remains a disciple of his "Passenger" director.

The actor frets about talking over some of the master's mysterioso scenes, apologizing for "distracting" viewers. No worries -- Nicholson is great company, of course, and his memories of making "The Passenger" are rich and fairly detailed.

The restored "Passenger" made the rounds of art houses last fall. The film needs to be seen on a cinema screen but it's rewarding on DVD as well. Repeat viewings pay off as the movie reveals more of its secrets with every spin.

A second commentary track comes from screenwriter Mark Peploe ("The Sheltering Sky"), who based the tale on his experiences as a docu maker. Peploe's talk drags at times, but if you want to dig into the movie he provides a lot of detail. The journalist who shares the track just saw the film for the first time and adds nothing.

The remastered "Passenger" looks quite good for a 1970s movie, its images wear-free and mostly easy on the eyes -- a tad stringent or sun-bleached on occasion, probably by design. Images are widescreen, of course, enhanced for 16x9 monitors. The two-channel audio is good enough.

Jack Nicholson plays David Locke, a successful but jaded reporter in a mid life crisis. His mixed up mid Atlantic origins, failing marriage and dissatisfaction with his work come to a head in a small hotel in an obscure town in a war torn African country. The only other guest is the enigmatic business man Mr Robertson who confesses to having no family or friends only a list of appointments. The mid-life crisis fantasy turns into reality for Locke when Robertson dies from a heart attack. Locke switches passport photos, assumes the other man's identity and heads off to keep the apointments.

The list of apointments in the dead man's diary lead Locke on a journey across Europe. He is pursued by a team of assassins who, believing him to be the real Mr Robertson, want to kill the man selling guns to the rebels in their country. Also on the trail are the police together with his wife who is the only other person in the film to have realised the identity swap. Despite the state of her marriage, (she has taken a lover) she still cares about him and wants to warn about the danger that he faces.

No mid life crisis film would be complete without the younger woman with beautiful eyes and no past herself who falls for the leading man. Maria Schneider plays this role very well providing both an innocent acceptance and a sophisticated understanding of Locke's game.

Very few actors could have played the part of Locke as well as Nicholson. He brings an air of detachment to the part that fits in with the character's behaviour. He is taking part in another man's life but as a spectator.

As well as the storyline, the film is shot with the artistic poise and exquisite technique that I always enjoy when I see the work of director Antonioni. From the scenes in the African dessert to the final moments in a small sun baked Spanish town, the film is a joy to view. At the end of the film comes one single camera shot that is quite magical. The scene starts in Nicholson's hotel room and slowly homes in on the barred window. We zoom towards the window and then fly out through the bars into the square outside. Then slowly, the camera, now clearly on the other side of the bars pans around the square before returning to view the window from the outside. At the time, this was the longest and technically the most demanding camera shot ever attempted.

This BEAUTIFUL film, about alienation, life in the modern age, and [very timely] trying to function in an alien culture we sinply do not understand.. along with BLOW UP, deserves to be released on DVD. Why has Antonionni been relegated to obscurity? These magnificent films deserve the full restoration treatment. Film lovers everywhere derserve these treasures

"Antonioni" and "alienation" seem inextricably intertwined. That's not all there is to it. I've seen this film about once every 10 years since it came out around 1975. (The DVD is a good-looking print, by the way.) I've loved it, and been excited by it, every time.

Excited about a film about alienation? Ah, but I think there's more to it, much more. Certainly alienation, morality, emptiness, the complexities of modern existence, are all issues of concern to Antonioni, and he's said so. But he also clearly loves the beauty of the "moving picture," so much so that he seems to get quite happily lost in it. And, in the end, at least for this viewer, that's what makes this film such a success. It is visually captivating. The plot, such as it is, quickly becomes of secondary importance, except as a vehicle to raise more questions than it ever answers (as is typical with Antonioni). Instead, you see the world, events, and the passage of time, through Antonioni's eyes. And he is a wonderful guide.

Antonioni's rhythm is slow. That bothers some people. The looseness of the plot, the ambiguity, the lack of explanatory narrative, are all things to be prepared for. The images are what count. At least, that's how it's worked for this viewer. With those qualifiers in mind, strongly recommended.

I've been wanting to give The Passenger a second chance since first seeing it almost thirty years ago -- a screening by a now long-defunct local film society at the rustic decades-old Footliters Theater in downtown Cadillac, Michigan, the erstwhile venue for the local community theater troupe and since lost to an electrical fire. Either the print or projection was awful while the sound system just plain stunk!

This new DVD edition has the "feel" of age (I could never understand why Antonioni used dark titles, same as on his Blow-Up) but is nonetheless very watchable (and listenable!) with brilliant color saturation and nary a noticeable scratch.

Needless to say, a keen sense of "place" and the emotional "distance" we keep from protagonist/reporter David Locke (Jack Nicholson) amidst his developing boredom and burn-out are brilliantly rendered through Antonioni's trademark cinematic sensibility. We see and feel Locke's need for change and are held rapt as he carries out his impromptu plan for self-reinvention. In my opinion, this consistent theme of Antonioni's is as well-performed and technically executed as in any of his films.

From the North African desert to London to Germany and finally to Spain, Locke embraces his newfound identity through unintended political intrigue and a search by his wife and former colleague (who believe his former self to be dead!) while sharing his exploit with a young fellow soulmate and nameless lover (Maria Schneider). The trip is both fascinating and spellbinding.

The denouement is something to behold, not only from a technical standpoint (which is extraordinary!) but from the sheer emotional dispatch we feel upon Locke's ultimate realization. The slowly diminishing "distance" from him we were feeling to that point utterly collapses! We're left feeling strangely as one with Locke, but more detached than ever from a mostly inert and indifferent world.

Any fan of Antonioni's renowned Italian trilogy (L'avventura, La Notte, and L'eclisse) or his wonderfully enigmatic English language masterpiece Blow-Up will certainly enjoy this. I also wouldn't hesitate to recommend The Passenger to the Antonioni uninitiate who wants a more accessible entry in which to explore a unique cinematic vision and language. Though I've yet to hear the commentary track from the screenwriter Mark Peploe and journalist Aurora Irvine, that of the seemingly world-weary yet self-satisfied modern-day Jack Nicholson was fun to hear if not overly insightful.

One of these days I may just give Antonioni's much maligned Zabriskie Point a "second chance"...one of these days.

Michelango Antonioni is one of the great figures in Italian cinema. He has worked with Fellini, they co-wrote "The White Sheik, a film I think is one of Fellini's best. Antonioni, of course, is a great filmmaker himself. Probably best known for his films "L'Avventura" and "Blowup". "The Passenger" is a film I admire very much. I enjoyed the atmosphere of the film. It moves at a subtle pace, but it's a strong gripping film. Antonioni just seems to let the scenes flow with their own certain rhythm. Nothing in his style seems forced to me. And what about Jack Nicholson's performance!? I personally feel this was the period where Jack was in his stride. He has just finished Roman Polanski's "Chinatown", a true masterpiece, and his next project would be Milos Forman's "One Flew Over the Cuckoo's Nest". Proving just how great he is. He's one of the best actors we have, no question!
"The Passenger" tells the story of a man who is upset with his life. He's a tv reporter, who is married with an adopted son. Things in the marriage are not going very well. The love has faded and David Locke, the reporter played by Nicholson seeks a way out. He wants to begin a new life.
David Locke is sent to Africa to do a documentary on a war going on. When there David meets a Mr. Robertson (Chuck Mulvehill). While staying at a hotel David notices that Roberston has died. And it's at this moment David feels here's his chance. He is able to get a chance to start all over again. So David switches passports with the man and assumes his identity. Word gets out about "David Locke's" passing. His wife, Rachel (Jenny Runacre) and tv producer Martin Knight (Ian Mendry)try to track down Robertson, thinking perhaps he'll have some answers fot them, since it is known that David knew him. And was staying at the same hotel.
Now, meanwhile David (Nicholson) starts leading the life of Robertson, which is not safe (and I won't say why). He meets a girl (Marie Schenider). Together they have a little affair, can anyone remember "Last Tango In Paris"? Just there's no butter here lol.
As might me expected Antonioni avoids the chances at given the movie too much human emotion. The same way he did with "L'Avventura". "The Passenger" is a character study of sorts. Not too much information is given away back David's past, but, that's okay. The movie works. And I can only hope the film is put on dvd soon. The film has become forgotten. More people need to see it.
I also want to note that the cinematograpy has a very intimate feel to it. Luciano Tovoli manages to catch, at moments, this loneliness that we sense in David. The movie might move too slow for some viewers, but, maybe if you watch it twice you'll notice there's a lot more than meets the eye.
Bottom-line: One of Nicholson's best performance. A strong subtle film with wonderful directing by Antonioni. Many might say it's slow moving, but, it's powerful.

The style seems dated now, and watching the film again so many years after graduating from college is both nostalgic and a little anxiety provoking. Nonetheless, a great film. The protagonist, through personal crisis and the device of a criminal venture in identify theft, reaches the revelation that identity generally is an artifice. Did he need to go to such extremes to make that escape? Wasn't that escape available long before the crisis? Or,perhaps, although individuals are adaptive and fluid, our relationships are rigid, thus compromising individual ethical choices. Conclusion: An entertaining headgame.

I still remember the first time I watched this film in a small art house in Taiwan ten years ago. It was an amazing experience. I came out into the warm and bright sunshine, shaking and totally thrilled. The daring eight-minute long take near the end really sums up the film, in which Antonioni asks a question that has been with us since the beginning of human existence: Is freedom nothing but an illusion? Antonioni, without a doubt, stands tall among the most honest, original, and skillful filmmakers such as Ozu, Tarkovsky, and Resnais. I thank God (if He is really up there) for giving us these artists.