The Passenger

Michelangelo Antonioni: The Passenger (Italy/France 1975). 128 minutes. Release by Sony Classics Pictures release. Release date: October 28, 2005. Shown at the New York Film Festival: October 8, 2005.

Thirty years later, Michelangelo Antonioni's re-released "The Passenger" is looking very good, and so are Jack Nicholson and Maria Schneider, as the journalist who takes a dead man's identity in the Sahara and the girl he meets in Barcelona who decides to tag along. David Locke (Nicholson) takes the passport of a man named Robertson who he's had a few drinks with in a hotel. Before that we see Locke experience frustration, giving away cigarettes to men in turbans who say nothing, abandoned by a boy guide, dumping a Land Rover stuck in the sand. Later we see films that show as a journalist he was subservient to bad men. Locke has Robertson's appointment book which leads him to Munich, then various points in Spain. He learns Robertson was a committed man taking risks: he sold arms to revolutionaries whose causes he thought were just. He gets a huge down-payment.

Then Locke's wife gets a tape of him talking to Robertson and his passport with Robertson's photo pasted into it -- and she gets the picture.

Changing your identity and using someone else's isn't just an existential act, it's also a criminal one. Locke's gambit is hopeless: he winds up fleeing from himself. The film skillfully gives its action story an existential underpinning. The chase keeps up a rapid pace, like the Bourne franchise, but it has time to contemplate Locke's old and new lives in a metaphorical story he tells Schneider about a blind man that explains how he ends up.

Antonioni is great at little incidentals -- a girl chewing bubblegum, a man reciting in a Gaudi building. And at the end, people coming and going in a desolate plaza outside a bullfighting amphitheater. The locations provide exotic glamor. The camera-work of course is wonderful. In retrospect now one can see this was definitely a culmination for Antonioni. He thought it technically his best film. This is the director's preferred European version, originally released as "Professione: Reporter."

(I)

From the very first sequence, this is a starkly shot film with a very unique visual signature to everything you see. A desolate, exotic locale for a movie: the North African desert. But this desert setting is perfectly in accord with the refreshing cinematic technique of Michelangelo Antonioni, who always stressed economy. Just as in his other works, there are no unnecessary ornaments or frills here. He introduces us to the strange, existential story in this film, and its odd, solitary, lead character-- in as clean, pure, and undiluted terms as possible. The principle here is that 'less is more'.

Some people really dislike this about Antonioni. He uses his camera in such a quiet way; and there is just this single, very terse figure/ground relationship which is the focus of his attention. But I think he knows that character stands out with more relief when its set against a minimalist background. Here, because characterization is channeled through Jack Nicholson, (far better even than in 'Blow-up' with David Hemmings) its more than enough. The brevity and scarcity in the film funnels you straight into Nicholson's awesome talent. We are along with him for the ride.

The plot starts out cryptically and simply, with very little explained about the man the camera spends so much time on. Jack Nicholson is a reporter named David Locke, and he is covering an African civil war. But beyond this, you must infer most everything else about him from just what you see-just by observing his behavior, and nothing else. There is scant dialogue of any kind. The depth of Nicholson's character is conveyed in miniscule components, parsed out after long intervals. His overall demeanor is weary, frustrated, sullen; the typical traveler who cant get good service. But he is also dispirited with his mission and in a way, despondent about his whole future and way of life.

Then suddenly, he sheds his persona and takes on someone elses'. He is staying in an isolated hotel and a man in the next room dies accidentally-and Nicholson decides to trade identities with the corpse; leaving the hotel with this new identity and letting everyone think it is he who has died. It's the personal reasons for this act, which Antonioni explores throughout the rest of the movie: the consequences and responsibilities incurred when you gamble upon coincidence and invest in random chance.

(II)

'Passenger' follows the progress of a man through a personal crisis; an identity transformation. The film is split with a Doppler-shift down the meridian of the identity theft Nicholson commits. His problems after this act consist of trying to make sure his ex-wife and employers continue to assume he is dead; and deciding how much of the false man's life and business to play at.

With the plot as its laid out this way, we might not ever really ever know the full reasons why Locke exchanged personality for that of another. But Antonioni adds some really clever flourishes: since Locke was a news journalist, the video interviews he conducted up to the point of his 'death' are available both to the people who begin to hunt him, and to us. We actually see more of Locke revealed in these flashbacks than we do in real-time. It adds just the right note. We get a better idea of the reasoning behind this bold act, why he casually gave up his whole history on a whim.

In his assignments up to this side trip to North Africa, we discern that Locke is dissatisfied with 'the rules' governing his profession. He is a talented observer, and wants to be a good reporter. But he finds all the news he gathers is in a way, pre-constrained by cultural filters. Its not raw enough, instead, its already been processed for him. In other words, he is never getting the real story; as long as he is a reporter, people frame their information for him as a reporter. As long as he is an Anglo, people treat him as an Anglo.

But after the identity-shedding transformation, he is free; and he has the time of his life. Returning to London, Locke amusedly begins playing the role of the dead man: keeping his engagements, carrying out business deals. Theres no accountability; he is pretending to be someone else. Only one thing: the dead man was an arms dealer and Nicholson is getting into deep trouble by masquerading this way. His philosophical pleasure may be cut short sooner than he expects. He doesnt see the trouble coming his way, but we do. Its a sort of combination of film noir and road-trip movie here; and it works.

(III)

Things begin to unravel. Shady customers start to dog his footsteps. Growing increasingly edgy, as he continues to follow the strange itinerary, Nicholson hooks up by coincidence with a young architecture student backpacking through Spain (well-played by petite, dusky, sensual Maria Schneider). They're an odd pair; but their joining forces makes one of a most intriguing screen romances of the period. She isn't given much to do in the screenplay, but makes a wonderful calming presence to the brittle Nicholson. Her character insists that Locke should, in all rationality, continue his journey--she is rigorous about principles. Locke acquiesces and he continues on, down along the coast of Spain towards Africa again, on his fool's errands, to meet his fate.

I wont expose any more of the plot. But I will say the final sequence of this movie is extremely startling and powerful. I had never even heard about it; in my opinion it should be talked about much, much more. Totally daring and innovative. Antonioni really shows what he can do here-you simply have to see it.

There are some flaws, yes: a few of Antonioni's flashbacks come off lame and awkward- too abrupt. They're really irksome. And there is a sloppy element in the final denoument, which I still cant understand: the drivers school vehicle. I yearn for the movie to be re-cut to remove these failings. But its still very satisfying as is.

(IV)

The bottom line here is that Nicholson has, in this film, a showcase for his talents like few other projects I have seen him in. This film was made in 1975, just a year after 'Chinatown' and the same year as his cameo in The Who's `Tommy' and his lead role in Milos Foreman's `One Flew Over the Cuckoo's Nest'. Jack is quite young, fit, and good-looking when he made this film. Its rewarding to remember him as he was then, before he both let himself go somewhat physically, and also began playing so many 'sick, horny focker' roles. This is one of the highlights of his entire life's work, imho. Easily as memorable as Jake Gittes or MacMurphy.

Jack is careful to do a good job in this movie--perhaps at this point in his career, he was still worried about major goof-ups. Its definitely prior to the point where he began to 'coast'. It looks like he took this film seriously--and probably enjoyed it immensely. Anyway, what other actor do you know today that could walk away with a difficult role like this one; an actor who would be as supremely interesting to us (as Nicholson is, in many scenes in this film) doing not much of anything for long moments at a time?

I doubt even DeNiro could have succeeded--he would have played it too 'tough-guy' and added too much gesture. Its Nicholson's laconic, dry twang, his sardonic gestures and those bored, squinty, seen-it-all eyes, that makes it work. There is a world-weariness about him in this performance that is quite special. The weight of past experiences exudes strongly from him; and its just what Antonioni needed. This quality defined him for this role like no other contemporary actor of his time.

Anyway, in this flick, you know he is doomed but you aren't really sure how Antonioni is going to do it. Antonioni creates massive tension with that very economical, severe camera style and almost no music. There are many scenes where the only sounds are the background noises from the environment itself; you can practically see Nicholson's sweat, hear his breath, and feel his pulse. Nicholson, surely very aware of this tight focus on him, maintains a rigid grip on his character throughout the film.

He isn't at all cocky--his special trait is his vulnerability. Nicholson always seems tough on the outside, but also as if he can still be hurt (as we see here, and in Chinatown as well). Its a vulnerability very like Bogart's in 'Casablanca'. In fact, if this film had been made in a previous generation, (as Gene Siskel once claimed) there would have been no there actor besides Bogart who could have even pulled it off. But no matter what: its great to see Nicholson on his own, competing with no other strong castmembers, just cruising along as a lone, insecure American among hostile and unfriendly foreigners.

His characterization is superbly restrained and un-showy; his gestures and expressions are as bland as possible; and there are no wildly quotable lines or speeches (any Nicholson fan should view this film for this reason alone). Anyway, by the end of the flick, you are positioned so closely alongside Nicholson--so wrapped up in his fate--that the brilliant, low-key finale can take you by surprise and it leaves a terrific poignancy.

In short, there are many reasons to like this film. I heartily recommend it. Its easily the best movie I have seen in some time. Its essential for appreciating both Nicholson and Antonioni. I encourage you to rent this movie on VHS as I am sure you will relish it as well.

Michelangelo Antonioni's films are very static, with a few dialogues. They describe boredom of bourgeois class, they're cold. Sometimes they're unbearable: either you like them or you don't.

"Professione: reporter", to me, belongs to the most interesting period of Antonioni's career (between the second half of the Sixties and the first of the Seventies). Because in these years the Italian director made his most accessible works: "Blow Up" (1966), "Zabryskie point" (1969) and "Professione: reporter" ("The Passenger", 1974). These films contain more action and more situations. They are neither more commercial nor more mainstream, but they talk about an adventure or a dream.

A journalist in North Africa switches the identity with a dead man who looks like him. He does this to escape from his life and for living a more interesting one. But he'll pay for his choice...

It's difficult to say, but this Antonioni movie (with his recurrent themes and -in a smaller way- times) has a lot of suspense, if I can say so. Once you begin to watch it, you can't give up. The funny thing is that nothing really big or special happens: sometimes it seems a road movie, sometimes it is a typical Antonioni analysis of the society. Jack Nicholson -how young he was at that time!- fills the film, his performance and his expressions are brilliant. It's also interesting the chemistry with Maria Schneider, the lady of "The last tango in Paris" -an actress who never got the fame and the recognition she deserved.

Cinematography is fantastic. But, above all, the big surprise of the film is the final shot: a 7-8 minutes take without cuts, absolute amazing. It's not describable, it's a must!

"The Passenger (Professione: reporter)" is a tour de force of visual story telling. While there is more dialog and the plot makes more sense than many other Michelangelo Antonioni films, it first and foremost uses film-making as a medium to tell its story.

The camera is always our eye, taking in sweeping panoramas of the North African desert to an architectural tour of European churches and an appreciation of the variegated urban and rural landscapes of Moorish Spain, still showing relics of older invasions, where it all comes together as we literally go from dust to dust. We are the passengers on this existential trip to try and change identities through someone else's travels logging almost as many locations as an outlandish Bond film .

Because so much of the film is dispassionately observational about natural landscape and cityscape, and windswept plazas that provide imitations of nature within a city, it stands up through time, even as the 1975 clothes, hair, TV journalist technology, and, somewhat, male/female relationships, look a bit dated and we can no longer assume that African guerrilla fighters and gun dealers helping them are more noble than the corrupt inheritors of colonialism.

The camera is constantly picking out culture contrasts - camels vs. jeeps, horse-drawn carriages blocking Munich traffic, Gaudi's serpentine architecture vs. Barcelona's modern skyline, a cable car gliding over a shimmering body of water.

And, of course, the very American Jack Nicholson in a very European film, with the many layers of meaning as he plays an adventurous broadcast reporter who ironically tries to escape the truth about himself. His young, sexy, challenging self is surprisingly effective here as we believe both his ethical lapses and his obsession.

Avoiding the narration that a film today would utilize, Antonioni well takes advantage of what now looks fairly primitive tapings of the reporter's past and current interviews to convey background and flashbacks on characters through minimal explication with overlapping sound and gliding visuals. The intertwined story lines constantly re-emphasize the point of not really knowing a person or a culture from the outside, with a repeated refrain of "What do you see?".

Maria Schneider's character skirts just this side of a male fantasy cliché, though Antonioni helped to create the type, and a few subtle plot points save her from total disingenuous sex kitten femme fatale (even as her character shrugs that one plot point is "unlikely"). Nicholson's repeated refrain to her of "What the f* are you doing with me?" takes on different meanings as we know more.

I'm not sure if this 2005 re-release of the director's cut, with supposedly nine minutes that were not in the original U.S. release, is notably pristine, as it wasn't particularly sharp, but the director's trademark crystalline blue sky is still breathtaking and is a must-see in a full screen rather than on DVD. The views practically feel like the old Cinemascope.

A climactic landscape shot brings all the violent, sensual, philosophical and narrative plot and thematic points together in a marvelous way that has been much imitated but is still powerful, as the camera looks out a window at a cool distance in the heat, key events culminate back and forth frantically in front of the camera, in and out of frame, and the camera moves through the bars and is free to roam in ever more close-ups.

This is from a feature I wrote 30 years ago, when 30 myself, on The Passenger for a now defunct London film magazine (Films Illustrated) where readers could discuss/analyse/deconstruct favourite movies (before the age of video and DVD!). I am revisiting it now that The Passenger is available again after a 20 year disappearance. However as I am limited to 1,000 words I have had to edit…

"The Passenger will remain a film of the mid '70s, as one of Antonioni's previous films, Blow-Up, remains a film for and symbolises the '60s. It also contains one of Jack Nicholson's definitive performances (along with Chinatown, The Last Detail and One Flew Over The Cuckoo's Nest) and has, perhaps, been a trifle overshadowed by these films all emerging within a short period of time of each other and the enormous publicity and word-of-mouth they have generated. But The Passenger has proved itself a strangely durable film and, like Chinatown, one that will remain around for a long time, both in the consciousness of its admirers and, one hopes, constant revivals.

Antonioni's third English-speaking film, The Passenger, like Blow-Up and Zabriskie Point, centres around the oblique, unresolved aspects of life. In Antonioni's films - as in life - there are no easy answers, things are not tidied up, explained, sorted out.

So it is with The Passenger. Jack Nicholson is Locke, an outwardly successful television journalist, but he also is being eaten away by his own disillusionment with the job and the value of his interviews, and that general malaise that affects Antonioni's people. When the film begins, we find him on location in Chad where his jeep breaks down and gets bogged in the sand. Locke breaks down and collapses on the sand as the camera pans away over the strange but beautiful desert panorama.

We next see Locke, in an advanced state of exhaustion, struggling back to his hotel and a cool shower, and discovering that the man in the next room, who looks rather like him, has died. We are very conscious of the stillness in the hotel - the blue walls, a fly buzzing, the noise of the fan, Locke staring intently at the dead man on the bed. We hear their dialogue of the previous evening and the aural flashback changes to a visual one by some very neat editing. Locke changes rooms, passport photos and luggage, and finds it quite easy to take on a new identity. How desperate his need is can be judged by his conversations back in Europe with the free, liberated girl (Maria Schneider) he meets up with. ("I used to be somebody else, but I traded him in"). She, incidentally, is freer than Locke could ever be.

It transpires Locke has taken over the identity of a gun-runner, Robertson. Perhaps it is best not to go into the plot in too much detail. Best all round just to pick out some of the marvellous moments along the way to the final breathtaking conceit. There's Locke, back in London, daringly visiting his old haunts - delighting in being someone else, but of course he isn't. Later on he is suspended in a cable car high about the ocean his arms outstretched like a bird in flight. Later still, the girl asks him what he is running from, and he tells her to turn around and we see what she sees - the road behind them.

By now, we the audience are caught up in this mesmerising film and its deliberations of he mysteries of identity. We are now totally involved in Locke's plight. He has given up one identity for another and becomes more and more helpless as the situation gets out of his control. Finally, in a remote Spanish hotel he can go no further, either as himself or as his new identity, as his wife and the gun-runners close in on him. One shouldn't spoil the last sequence for those still to see it, but it shows the only real freedom from identity and self is in death. The final scene shows us the aftermath: as the sun goes down, the hotel-keeper comes out for a walk, a woman sits in the doorway resting. For some people, who do not question their existence, the continuity of life goes on.

Antonioni, now in his sixties, is one of the great Italian directors who, like Fellini and Visconti, burst upon the international film scene in the late '50s. His trilogy of Italian films, L'Avventura, La Notte and L'Eclisse, and his first colour film The Red Desert (all with Monica Vitti) contributed to the renaissance of the European cinema. Then he switched to his English-speaking films, of which Blow-Up was the first. He is as much a master of landscape as John Ford was in his genre. He thinks nothing of painting whole streets or trees to get the effect he wants. Blow-Up is the only film from the whole, crazy period of Swinging London films that has not dated and which encapsulates what it was really all about. It remains one of the great films. Like Bergman, Bunuel or Fellini you either respond to his vision or reject it totally. His images linger on in the mind, his work never dates."

That is what part of what I wrote in 1976 and The Passenger indeed remains endlessly fascinating and particularly so now that it is available again. Even at the Antonioni retrospective in 2005 it was not available to include in the season, but we did have cast members Jenny Runacre and Steve Berkoff there to speak warmly of it's making and importance.

Let's hope a new generation will discover its timeless appeal, and amazingly Antonioni now in his 90s is still with us, if rather frail. A 2005 short of his was shown last year on the great statue of Moses in Rome and was also in its own way fascinatingly mysterious.