In Micheangelo Antonioni’s first color film, Red Desert (1964) the usual themes of alienation and the lack of connection between men and women is present. Monica Vitti once again plays the damaged wife of an industrialist who is searching for contact from another person. She sees a possibility in her husband’s colleague, Ricahrd Harris. However, it seems as if he was charting new territory in the shipyards, factories, pollution of the industrial landscape of the film. The film stars his muse Vitti, Carlo Chionetti as the husband, and Harris. (There must be a story behind the casting of Harris, but it was known that he walked off the set early after a fight with Antonioni to star in Sam Peckinpah’s Major Dundee). There is an intriguing little interlude when Vitti’s character narrates a story to her young son about a girl who swims daily in a cove that is lyrical and elegant in its simplicity and acts as a kind of cipher of the character’s mental state. As usual the film has some impressive cinematography and several modern, even futuristic houses and hotels. Antonioni has an eye for futuristic backdrops for the plays of alienation and lack of connectivity among his cast. It is significant that for his first color film he is obsessed with gray and muted colors throughout the film.