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The movie is a thriller in structure only. While designed for suspense, its just a premise for Antonioni to explore on themes of identity, humankinds seemingly futile relationship to the world around us, and isolation. For Antonioni, the action is the means by which the image unfolds, and not the other way around. The actors and the plot are set pieces, simply smaller means to a larger end, and the image and atmosphere supersede all else. A slow pace, long, lingering shots, a focus on emptiness, and a detached, almost brutally objective point of view are the trademarks on full display here. Especially notable is the stunning seven-minute long shot in the final scene, one of the most famous in cinema history, which Nicholson, in his commentary, tags as an "Antonioni joke." It caps a crowning achievement by one of the big screens most visionary directors.
On the DVD:
The commentaries are most definitely welcome guides, and those looking for a way into the movie and into Antonionis head will really enjoy them. Jack Nicholson provides one commentary track where he generously shares his memories of the shoot, his thoughts on the movie thirty years on, and lets out the secret of how they managed to get the camera through the bars on the window for that seven-minute shot in the last scene. On the second commentary track, journalist Aurora Irvine and screenwriter Mark Peploe offer more of a wide-angle lens view of the movie and its place in history. Both are insightful narrativesNicholsons is particularly enjoyable--and make excellent additions to the DVD. --Daniel Vancini
This is one of Antonioni's most mysterious and most impressive films..
And let me also say that while there are some good shots in this movie camerawise, there are also many that go on long enough to test your endurance.
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.
The sense of a life slowly, gradually but inevitably winding down has never been portrayed so poignantly and hypnotically as here, Antonioni's ultimate achievement. Read morePublished 2 days ago by David
Identity theft turned into an existential journey. Antonioni's brilliant cinematography is again in evidence, here, although the plot seems somehow a bit contrived and the... Read morePublished 11 days ago by Pierre Taminiaux
In the late 70's, I saw Michelangelo Antonioni's "The Passenger" when it first went to television. At the time I thought it was too long and pointless. Read morePublished 3 months ago by tomsview
A classic both, visually and in theme. In my top 10 films of all time. Underrated.Published 3 months ago by Anna Sulikowska
The Passenger was one of Jack Nicholsons very early works. I cannot say how much I respect this film. Read morePublished 6 months ago by Roger Zelazny Fan
Like a turning off of The Sheltering Sky,this film takes off from the desert when Locke's(Nicholson's)jeep's wheels cannot get out of a sand dune. Read morePublished 17 months ago by technoguy
The movie may even be brilliant but I have no idea because it was at such a slow pace that I had to stop watching it. Read morePublished 18 months ago by BRIANNA
The first time I watched this movie was in a movie theater the year it came out. At the time I was living in Buffalo, N.Y. of all places. Read morePublished 22 months ago by mcsteege
This 1975 film exhibits the distinctive style of noted film director Michelangelo Antonioni (1912-2007). Read morePublished on January 3, 2013 by G. Richards