Surely this movie is due for an urgent re-evaluation as one of the great road-movies of all time and one of the best of the 70s. OK the pace is slow, seventies style, but it is merited. You are asked to look at the screen, and seach it again. You will be amazed by the photography and compositions. Someone please release it on DVD soon.
I'm so amazed by that final shot! The camera zoomed out of Nicholson's room (through the bars) then slowly turned around and shot it from outside. I don't understand how they did it??
I am a long-time Antonioni fan, and someone who has had the oportunity to attend the MOMA's lecture series on him, some years back. What folows is my recollection of Dr Arrowsmith's description. As I recall, that shot was a "killer", requiring long days of setup, as well as the invention of a camera on some sort of a "gimble", mounted on a tall crane!. The shot was made in one continuous pan of 360 degrees. The bars on the bedroom window were modified to fall away as the camera enters the room. I agree with you, it is one of the most incredible "natural" scenes I've ever seen.
That's interesting. Another stunning technical achievement is a scene in Herzog's AGUIRRE, THE WRATH OF GOD. It's almost on the same level as in Antonioni's film. We're out on a river in the South American jungle and as Klaus Kinski is standing alone on a raft, the camera is circulating around it for about a minute, yet the water is perfectly calm, so you can't tell how it was done, there's absolutely no sign of a boat or a helicopter. Simply awsome, especially when you know they had a low budget.