Third in the loosely connected trilogy (connected not by recurrent characters, but by theme, mood, the marmoreal Monica Vitti, and a title consisting of a definite article and a noun) which established Antonioni as such a polestar in the cinema of the early Sixties. The last and least of the three is satisfyingly more of the same, although the still-photographer's eye is now dominating the novelist's. Some prints of the movie, possibly in an attempt to correct the balance, eliminate the bleak little visual essay at the end. With Alain Delon and Francisco Rabal. (1962) — Duncan Shepherd
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