The Passenger

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.

David Locke is a dispirited journalist struggling to complete a documentary about post-colonial Africa. Deep in the Sahara Desert, he can find no-one to interview, and his Land Rover is rendered useless by innumerable sand dunes. Back at the isolated village where his hotel is situated, he discovers an Englishman named Robertson with whom he had struck up an acquaintance has suddenly died. Sensing a means of escape from his frustrating existence, Locke swaps identities with the man. The plan works, though Locke soon realizes that the dead man's life was a lot more complicated than his own- and far more dangerous.

Directed by Michelangelo Antonioni and written alongside Mark Peploe and Peter Wollen, 'The Passenger' is an intriguing, atmospheric drama exploring the complexities of truth, identity and isolation. It is a subtle, low-key film that doesn't rely on garrulous dialogue to forward the narrative, and is open to interpretation in many ways. Antonioni strikes a perfect balance between visual and oral storytelling, using Locke's journey to contemplate the impermanence of identity, the mysteries of truth and the devastation of alienation. Though Locke escapes from his unfulfilling life, he cannot run from his past. Nor can he escape the past associated with his new identity, or the fate attached to it.

Here, one could say that Antonioni is suggesting that identity is not something one can easily define or control, but rather something that one has to constantly negotiate and question. He uses Locke's story to posit that identity is not necessarily a source of meaning or fulfilment, but rather one of confusion and alienation. Furthermore, the alienation Locke feels is not just with his environment and with those around him, but with himself. He struggles throughout the film with his sense of purpose, and only by embracing his alienation does he find a potential source of new perspectives and experiences. In this way, Antonioni shows how alienation can positively affect one's life.

Additionally, the notions of truth and reality being stable and fixed concepts are put to question, as every character in the film is involved in a lie, in one way or another. The world of 'The Passenger' is one riddled with contradictions and uncertainties, in terms of perception and beliefs. The film shows us that truth is elusive, and not necessarily a source of clarity or certainty, but rather one of befuddlement and melancholy. As is the case with the themes of identity and alienation, Antonioni's exploration of truth and reality is one that feels consistently fresh and intriguing throughout 'The Passenger'; making its narrative one that you'd be hard pressed to forget.

Despite this depth and complexity of narrative, it is the cinematography that is the real draw here, which is epic and atmospheric. Luciano Tovoli's utilisation of long takes and natural lighting creates a realistic and immersive style contrasted with the alienating world Locke finds himself in. His artful framing and composition carries symbolic, expressive meanings- such as the use of windows and mirrors to create frames within frames, suggesting Locke's entrapment and isolation.

Tovoli also makes excellent use of zooms, pans, tilts and tracking shots to create dynamic and fluid transitions between spaces and perspectives, mirroring Locke's search for truth and identity. His handling of a seven-minute tracking shot at the end of the movie is particularly breath-taking; perhaps one of the finest such sequences ever put to film. This intense scene acts as a metaphor for Locke's journey, as well as creating a contrast between the realistic and symbolic, challenging our perception and understanding of reality, as it shows us things that are not possible or logical.

Through its use of long takes, deep focus and natural lighting- creating a modernist, minimalist aesthetic that reflects the characters' alienation- the film is reminiscent of Antonioni's previous 'L'Avventura' trilogy; though in colour and on location. Conversely, some may compare the visual aesthetics to those of Yasujiro Ozu or Robert Bresson, who used natural lighting to generate a realistic and contemplative style that explored the human condition in a profound, assured way. Whatever the case, the cinematography of 'The Passenger' is arguably its greatest strength, enhancing the film's themes and narrative by creating a contrast between the realistic and the symbolic; while always remaining visually stunning.

'The Passenger' stars Jack Nicholson as Locke, delivering a measured performance that rivals his similarly understated efforts in 'The King of Marvin Gardens' and 'Five Easy Pieces.' From his opening moments- trapped in the desert unable to communicate with anyone- to his last, Nicholson mesmerizes. Consistently underplaying it, he never sets a foot wrong performance-wise, sharing an easy chemistry with co-star Maria Schneider that makes watching them together a real treat. For her part, Schneider brings a light touch to proceedings and- though her role is a little underwritten- shines throughout; leaving an indelible impression on the viewer.

Having said all that, if you don't appreciate abstract, existentialist films, or narratives that are open to interpretation and draped in mystery and intrigue; 'The Passenger' may not be for you. It is a complex film that doesn't clearly or definitely state its intentions or explain its meanings. Beautifully shot and strongly acted, 'The Passenger' examines some profound themes in a mature, understated way, and is a highlight of Antonioni's oeuvre. If you do appreciate the abstract, the mysterious and the profound, then hop on board 'The Passenger': it's one hell of a ride.

Slow but well worth the time it takes to arrive at the shattering conclusion. Watch it more than once as there are many small visual cues and tips that add both to the plot and theme. Jack Nicholson is superb - and surprisingly low-key - as the jaded and detached reporter who switches identity with a dead man out of boredom more than anything else. Maria Schneider is fine in a somewhat underwritten role. The real stars however are Antonioni's restlessly roving camera and the sublime locations which include the Sahara desert, a cable-car, and that bewitching Gaudi rooftop in Barcelona.

"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.

One of Jack Nicholson's best but also least known films, `The Passenger' or `Professione: Reporter' is a haunting examination of the desire to escape and start afresh and is without doubt Antonioni's best English language film, eclipsing both `Blowup' and `Zabriskie Point'. Nicholson's role as a world-weary television journalist (David Locke) isn't a particularly demanding one but it is fascinating to see him give a performance so different from anything else we have seen from him and one which is much better than the horny little devil efforts he has sadly specialised in since `One Flew Over the Cuckoo's Nest'.

Some may find the opening twenty minutes of the film, where there is virtually no dialogue, hard-going but this perfectly illustrates the sparse and confusing environment of the North African desert where the film begins. We are also treated to a marvellous scene between Locke and the man whose identity he later assumes where a tape recording and flashback are ingeniously merged into one and then separated again. Antonioni creates a mood that is almost indefinable throughout, a kind of hollow detachment which is exactly the perspective that Locke has on the world which has gradually worn him down yet the director still manages to conjure up power and simple romance between Locke and the girl he meets who is played by Maria Schneider. The film was not a hit at the box-office which is not surprising considering it's uncommercial style but artistically and cinematically it is a triumph of innovation.