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'Mea culpa' de un famoso crítico de Cine: Roger Ebert
"I did not admire the film in 1975. In a negative review, I observed that Antonioni had changed its title from "The Reporter" to "The Passenger," apparently deciding it was about the Girl, not Locke. Maybe it is simply about passengers who travel in someone else's life: Locke in Robertson's, the Girl in Locke's. I admire the movie more 30 years later. I am more in sympathy with it.
When a film so resolutely refuses to deliver on the level of plot, what we are left with is tone. "The Passenger" is about being in a place where nobody knows you or wants to know you, and you are struck by your insignificance. There was a world where it was important that Robertson was Robertson and Locke was Locke. In the desert among strangers, it is not even important that Robertson be Robertson and Locke be Locke. The little white car that crisscrosses the square in the final shot belongs to a driving school. To its driver, it is important to pass the course and get a driver's license. Robertson and Locke disappear, and this is first gear, this is second, here is the clutch, here is the brake. "
When a film so resolutely refuses to deliver on the level of plot, what we are left with is tone. "The Passenger" is about being in a place where nobody knows you or wants to know you, and you are struck by your insignificance. There was a world where it was important that Robertson was Robertson and Locke was Locke. In the desert among strangers, it is not even important that Robertson be Robertson and Locke be Locke. The little white car that crisscrosses the square in the final shot belongs to a driving school. To its driver, it is important to pass the course and get a driver's license. Robertson and Locke disappear, and this is first gear, this is second, here is the clutch, here is the brake. "
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