© 2014 by James Clark
The intricacies of Anton Corbijn’s film, A Most Wanted Man(2014), come down, it seems to me, to the readily ignored grace note of solitude. (For that matter, Jonathan Glazer’s Birth  also exposes that elusive treasure.) In the Corbijn film it is only intimated by the disaster in its absence and the rumor of its presence in the sailing we hear about (once) but never see. On having, over the past four years, gathered together what sometimes seems to be a filmic mountain of exigencies painfully including that possibility of quiet, I think it is time to pay specific attention to three films from the dawn of contrarian go-for-broke, quite well-known but not widely enough cherished for their daring—namely, Michelangelo Antonioni’s L’Avventura (1960), Alain Resnais and Alain Robbe-Grillet’s Last Year at Marienbad (1961) and Marguerite Duras’ India Song (1975). Generally understood as instances of a filmic tsunami of ennui and distemper triggered by a World War palpably obviating the allure of the kind of heroics which had served for so long as a cogent grace note, the choreographic imperatives of those hugely alienated creations have been substantively overlooked—in itself a powerful revelation of the hardness of the crisis they address.