Monica Vitti, a woman faces two 
muse tribute to the actress of Italian cinema and its public 
dreamer, romantic, filled with ironic verve, the undisputed protagonist of the Italian comedy; before misunderstood, depressed, yearning, muse of rarefied quartet of feelings (L ' Adventure, La Notte, The Eclipse, The Red Desert) Michelangelo Antonioni. Certainly histrionic, beloved actress Monica Vitti was round: in her two faces and two images - even if you reject - are essential to the history of our cinema. She and the film's adventure the president of the Cannes Festival, Gilles Jacob, dedicate the official poster for the 2009 and have a beautiful restored print from the National Film Cannes Classics section at the gala on the evening of May 20. Monicelli said: "Although the film did with Antonioni, play characters from silent film, mysterious characters, other times in life but it was lively, funny, full of humor." 
The second Vitti captivate the public overshadowing the former. That was the dramatic to the comic a natural next step for this artist unusual and versatile, able to challenge their own characters with extraordinary irony, projecting beyond the big screen, and making a shield and a model for Italian women. Women still inert in front of systematic exclusion of a male-dominated society and provincial masochistically relegated to a subordinate role. She 's The Duck in Orange (1975) the protagonist of a bourgeois couple and radical-chic faux-open competition in the doll with the secretary, the almost always naked Barbara Bouchet, inevitably ends up being jealous and traditionalist. The unattainable, beautiful and misunderstood, consecrated star of tetralogy Antoninina the end of the sixty register to become so much change in comic actress, who played politically aware of the assertion of women in our society.
Drama of Jealousy (all the details in news), by Ettore Scola (1970), Stardust, Alberto Sordi (1973). He will say in an interview "Discover how to laugh it out to be the daughter of the king," and again: "The actor has two disadvantages, I've even three: I am a comic called, that is a brilliant actress, and So first of all expect me to laugh with a joke; Then there's the fact that I am a woman and an actress. " In the play his women happy sigh and bear against the destructive impulses, misogynistic, auolesioniste, masochistic. His Goddess of Stardust is the first sacrificial victim of vaudeville diva. We women are made in this way, by Dino Risi (1971), the contradictions of a relationship between the sexes in avoidable change is unleashed on the body of the protagonist, a symbol of the liberalization of morals contradictory and false. Then explain: "Women have always surprised me: they are strong, have hope in your heart and in the future." 
E 'in short, Vitti, with Mariangela Melato, the undisputed protagonist on the big screen 70 years of social transformation. An explosive player loaded with the unmistakable charms of his infinite energy and so many doubts as spies melancholy of progress difficult to digest. Hence the recitation of a diva who has never posed as such, and the baroque drama and exaggerated figure can do without being overwhelmed. Just the comic register Vitti makes the model acceptable to the public, not disturbing. Over the years his figure is rounded. The strange beautiful face, almost Nordic, and looked sharp and scored a bistro tetralogy of Antonine give way to a more oval and round the family. His laugh overshadows the legs always beautiful. Monica funny and ironic is reassuring as his plays. Not for nothing in those years will be the foreign actresses Charlotte Rampling, Catherine Deneuve, Maria Schneider to interpret the dramatic concerns of our cinema. But the Italian comedy was "his food": one that appeals to women who identify with her, while the dreams of Italian men are looking abroad. Comment on herself "The plaintiffs - say - ugly today in Italy it must have happened to me. It was I who broke down the door. " Victoria plays the protagonist of the eclipse, "There are days when you are holding a needle, a cloth or a man, it's the same thing." Of course, such a scared and frightened. If Julian was devastated by the red desert, a victim of society neocapitalistic, in which a famous joke, "hurt the hair is too bourgeois in there, close in his green coat, the difficulties of Claudia Adventure fold of mystery to fasten from the most distant, to Monica, and finished the artistic partnership not only with Antonioni, we have to reinvent themselves. Obviously, then, for her to get in tune with the public thanks to the girl with the gun, Mario Monicelli, 1968, a young Sicilian seduced and abandoned, or Nini Tirabusciò, the woman who invented the move, 1970. With love, help me, Alberto Sordi, 1969, are slaps in bursts. More with Deaf, in 1982 I understand I know you know I know, movies served daily on the incorrectness of a Roman couple. The audience loves her, she laughs above. 
And the irony, confidentiality, the style that distinguished his long career of forty years could even afford to challenge the "conventional thinkers" with intelligence and without excess. "To read anything goes' dare to admit. But in a way, with that smile and the unmistakable voice of Italy, too, then could not grant. Dodge, Maria Luisa Ceciarelli, aka Monica Vitti, will always say very little about his relationship with Antonioni, which lasted a decade. "How Antonioni is I do not know: I do not ever have asked for and do not want to know, "is his comment. In 1995 he received the Golden Lion at Venice for his career. In 2000 she married the photographer Roberto Russo. For years, no longer appears in public. They say it is sick for sure yet indomitable. In 1988, Le Monde published the news of his death. She thanked the journalists for a blunder that certainly would have "extended life". When irony is classy.
(Stefano Biolchini - from "Il Sole 24 ore" 
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