Eros

It's always a tricky thing to comment on these 'omnibus' films, where world-renown directors come together to make little films combined as one film. The two that are likely most well known to American audiences, of most recent as twenty years, are New York Stories (featuring Scorsese, Coppola, and Woody) and Four Rooms (Anders, Rockwell, Rodriguez, and Tarantino). None of those films are total masterpieces, due to the fact that there are always un-even bits by the filmmakers, even in the better segments. Eros is no exception, but I would argue that there has been some over-load of flack against the short co-written and directed by 90-something year-old Michelangelo Antonioni. His segment has been claimed by almost all the critics and reviewers (on this site and for the press) has been claimed as a waste of time, as total soft-core porn, the ideals of an old man wanting one last grip on his libido. I didn't find his segment to be a waste, although it is one of his stranger, more enigmatic films in his sixty year career, and it isn't as fascinating as it used to be.

The other two segments are little classics in and of themselves for the younger of the two filmmakers. Wong Kar Wai delivers a touching, sad romantic tale of a tailor's apprentice who has a curiosity about a woman who does something erotic with him on a first visit (hence the title of the segment, The Hand, though it's not as pat a term as might be imagined. The actors involved are all marvelous, and the style in how Kaw-Wai sets up his shots demands attention, despite it being unconventional. The acting is very natural, the music used comes in at just the right moments for emotional contact (you almost anticipate it, and when it comes, it's powerful), and the ending wraps the story up rather fittingly. It goes to show that Kar-Wai might be the most skilled at making romantic-dramas in China, or at least is the most popular.

Steven Soderbergh, likely around the time he directed the slightly off-putting Ocean's Twelve, concocted this sort of comedy of manners, as he says, "so I could have my name on a poster with Antonioni." It stars Robert Downey Jr. and Alan Arkin as a salesman and a psychiatrist respectively, and Downey's character is anxious about his job and, more importantly, about a woman in his dream. Arkin is hilarious in his role as a man who would much rather look out the window with binoculars at someone we do not see in the short. But his physical mannerisms, as Downey goes through his dream to confront himself (filmed in nice black and white, by the way), makes the scene all the more worthwhile. The last shots, jump cuts, of a paper airplane flying out the window are filmed with a fine touch of whimsy. There is also a solid, painterly use of blue in one particular part of the dream scene early on in the segment.

Then we come to Antonioni. First off, let one address the good qualities, or at least the fair, expectable qualities, that come with many of Antonioni's films. In a sense, he's hearkening back to his classic 'trilogy' (L'Aventurra, La Notte, The Eclipse), where a married couple is going through a crisis, and they spend a lot of time not saying anything to one another, and looking out at beautiful Italian landscapes and beaches. In a way, I almost wish this was a feature-length film as opposed to a more or less half hour short. I wanted to know more about these people, about what they do, or what they were doing or going to. But there seem to be two big flaws in the segment (the nudity didn't bother me- there were actually a couple of memorable shots, one of which just a woman's foot on a bed). One was with the music. Some have said that the film is Antonioni's closest trip to soft-core porn. While I would class his directorial eye and style miles above anything on after-midnight Cinemax, the music by Enrica Antonioni and Vinicio Milani is a complete contrast of the music more associated with the director's work, which is either spellbinding in it's atmosphere, or haunting with the usage of rock and roll. Here he uses the music, electronic and with preposterous lyrics, in the more 'erotic' scenes. The other flaw is that, because of the film's short length, there isn't enough time as usual to build up the enigmatic stance of the story. The climax involves the two lead women (one the wife, the other the stranger adulteress) completely nude looking at each other on the beach. While it is interesting to have this image open for interpretation, it is also frustrating in ways that weren't so in the endings to the other Antonioni 'human mysteries'.

I understood some of the implications, but I didn't get the sense of what was lost or what was gained or omitted like in the other two segments. Everything shot and acted looks sweet and tight and concentrated in the segment, still a technical pro, but what exactly is the point? Still, I would not have walked out during the middle of anything by Antonioni, and this, by default the weakest of the bunch, should be open to more interpretation than what Ebert described as "an embarrassment". I felt the eye and mind of an artist working still during "The Dangerous Thread of Things", and my only wish was that I could understand more than what I was seeing and experiencing. Perhaps his segment, like Kaw-Wai's and Soderbergh's, are left up to that interpretation for a purpose. I'll likely want to see all three segments sometime in the future, and maybe get a better take on what eluded me or what enticed me. But, at the least, I didn't leave the theater feeling entirely cheated.

Grade (averaged): B+

One part brilliant, one part so-so, one part utter crap. Guess which one is which. OK, I'll help you out. In the order of appearance:

"The Hand" by Wong Kar-Wai is a solid piece of film-making, but nothing special. Let's just say the Master does not break any new ground with yet another short story of unrequited love. We've seen these characters before, they are not that interesting, and the story itself veers too far into melodramatic to my liking.

"Equilibrium" by Soderbergh is a witty, clever little nugget... and you won't soon forget an unorthodox shrink who indulges in a bit of voyerism on the side while treating his twitchy patient (a great appearance by Robert Downey Jr.)

The Whatever It Was Called by Antonioni is so bad, I could not believe my eyes. Well, unless you enjoy watching gorgeous girls writhing on a bed or dancing on the beach - naked. Oh, you think quite a few people would enjoy that? So did Antonioni. The whole thing looked like an extended male fantasy of a Maserati commercial. No characters or plot, not particularly interesting cinematography...It was just boring.

Bottom line, it was a strange idea to bring together three allegedly great directors on a single ticket, and it did not pay off. Go see it for the Soderbergh piece if nothing else. Wong Kar-Wai fans will be slightly disappointed, and Antonioni fans are beyond salvation.

I rather enjoy watching short films. Like short stories, there's seldom room for more than one good idea, so that idea has to be done well--in the hands of a skilled director, this is an opportunity rather than a limitation. Eros is a collection of three such films, ostensibly sharing a similar theme.

Wong Kar Wai's "The Hand" is the first film, and is a premiere example of what a short film can achieve. A concise story about a tailor and a high class prostitute, "The Hand" distills the love/lust theme into a beautiful, intoxicating gem. It is by far the best film of the bunch, perhaps even one of the director's finest.

Steven Soderbergh's "Equilibrium" is the second film in the trio, and features a few shots of a naked woman and a long and unrelated dialog between Robert Downey Jr and Alan Arkin. As far as I can tell the film has vanishing little to do with love, lust, passion or sex--and not much else to say about anything. Soderbergh, who's often hit-or-miss, misses big time with this convoluted short.

Michelangelo Antonioni's "Dangerous thread" (or however it is properly translated) is quite different from the previous two films. It is certainly on message, featuring lots of full frontal nudity and some sex, but doesn't really have much of a story. It actually feels like it is much closer to succeeding than "Equilibrium", if only because it seems to fit comfortably within its time constraints, but the vacuous plot leaves you bored.

In the end Eros is a missed opportunity. After the first film you expect a beautiful tapestry of ideas and perspectives, but it never materializes. Nevertheless, the first film is well worth watching--easily justifying a rental or screening.

"Eros" (2004) is the collection of three short films directed by Michelangelo Antonioni (segment "Il filo pericoloso delle cose"), Steven Soderbergh (segment "Equilibrium") , and Kar Wai Wong (segment "The Hand"). Each film explores the always exiting and mysterious subjects of love, sexuality, and desire.

My favorite is "The Hand" – a sensual, emotional, powerful and very sad story about a young tailor who put the years of unrequited love for a beautiful call girl in an exquisite dress he created for her. He knew the exact measurements from touch. This segment is so great that I am ready to buy a DVD just to be able to see it often. It is a brilliant work of art from one of the greatest working directors now.

Steven Soderbergh's "Equilibrium" is a funny duet between two excellent actors, Alan Arkin as a voyeuristic shrink and Robert Downey Jr. as his patient who has a reoccurring dream about a beautiful woman.

Michelangelo Antonioni's segment "Il filo pericoloso delle cose" aka "The Dangerous Thread of Things" has been called the weakest in the trio. Many posters call it garbage, the total waste of time, the soft –porn made by a man who "got old and got horny". I personally did not find it a waste of time and if the man at 92 wants to make a little film that celebrates beauty and femininity – so be it. I feel that Michelangelo's segment is much deeper than it seems - even on the surface it is very attractive to look at.

Antonioni is not able to direct a 30 min film. Why? The Dangerous Thread of Things deals with a couple trapped in a plain, tasteless life that are no longer able to observe, to feel, to digest the little, happy, natural elements of their lives.What Antonioni wants to show here is that women are passionate, wild , instinctual. Their nudity is not erotic, it's a kind of natural nudity, the original nudity of people lacking shame.Dancing naked on the beach is a kind of Dyonisiac ritual Nietzsche was talking about, the primitive, joyful way of celebrating life. The ideas are nice, he tried to do something great , but he didn't manage because there was not enough time to construct the characters, to make them mean something so by the end of the film we are left with a feeling of dizziness.On the other hand, i didn't like Soderbergh's segment at all maybe because i didn't understand it or maybe I'm trying to get in deep where there is only the surface.

Anyway, Kar-Wai's segment was the best of all three, absolutely wonderful. The story is rather sad(all Kar Wai's characters are melancholic) but the way he works with the camera and the music perfectly combined with the images proves what a great director he is. The scene in which the weaving of the dress is associated with lust, with the wish to penetrate both the mind and the woman's body, well that's Eros, that's how eroticism should be introduced in cinema. Kar Wai proves to be a great tale-or again.