The Los Angeles Times from Los Angeles, California • 68

18 Port IV-Tues, Apr. 8, 1975 lot Stnsclt Citnrt 7 'PASSENGER Introducing the Saratoga idea; 0 WlMMBK-SBffi! MM -f Jimmy sSf jm Continued from First Page camera' might do more profoundly and infinitely more challenging. When such artistic discipline is combined with a genius for expressiveness, the impact can be emotionally overwhelming for those willing to submit to An-tonioni's demand for absolute concentratioa The film's already discussed and much-touted final seven minutes, consisting of one long, stupefing take, is sure to become one of the cinema's sacred moments. Everything in "The Passenger" is up there on the screen. Antonioni never cheats.

He shows (but never explains) everything that will compel us to want to make connections for ourselves. An exceedingly daring film-maker, he will hold a shot just one beat short of the onslaught of boredom to allow us to experience fully the mood and atmosphere in which his people breathe. That "The Passenger" is the auteur film supreme heightens rather than lessens the contributions of the director's colleagues. The spare, sinewy script, based on a story by THE PASSENGER', An MGM release of an Italo-Franco-Spanlsh co-production: i Comp. Clnematosraflca Champion Fllmj Concordia fParli)-CIPI.

Clnematogratlca (Madrid). Producer Carlo Pontl. Director Michelangelo Antonioni. Screenplay Mark Peploe, Peter Wollen, Antonioni; from an original itory by Peploe. Executive producer Von Norman.

Camera Luciano Tovoll. Art director Plerp Poletto. Costumes Louise Stlensward. Film editors Franco Arcalll, Antonioni. Featuring Jack Nicholson.

Maria Schneider, Jenny Ru-nacre, Ian Hendry, Stephen Berkoff, Ambrolse Bla, Jose Maria Cafa-rel, James Campbell, Manfred Spies, Jean-Baptlste Tlemele, Angel Del Pozo, Chuck Mulvehlll. Running time; 1 59 mln. MPAA-rated: PG (some parental guidance advised). young Britisher Mark Peploe, who collaborated in its adaption with Antonioni, and film theorist Peter Wollen, serves Antonioni's personality as ideally as Luciano Tovo-li's consummately eloquent camerawork. Just after the release of "Easy Rider," Jack Nicholson told an interviewer that he saw himself as a "useful" actor, and that quality is particularly evident.here.

One suspects that this film was a much tougher assignment than either The Last Detail" or "Chinatown" (which actually followed it), for here Nicholson is playing one of Antonioni's notoriously passive males. But since his capacity for expressiveness and concern for the revealing detail matches that of his director, he is able to evoke enormous and absolutely essential sympathy for this lost, drifting man. He is well-paired with the piquant Maria Schneider, cast as a self-possessed young woman whom he meets in Barcelona and who has the very capacity for commitment and caring that the journalist feels he has lost Miss Ru-nacre, so memorable as that tall, awkward girl humiliated' by John Cassavetes in "Husbands," is exactly right as Nicholson's wife, ridden with guilt that her accusations of too much detachment in his work have contributed to causing him to try to run away from himself. Filmed in England, Spain, Germany and Algeria, The Passenger" (at the Regent, Westwood.) is at the very least a sumptuous and enticing travelogue. At its very considerable most it seems sure to become one of the key films of the 70s.

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