---
product_id: 17816898
title: "Zabriskie Point"
brand: "mark frechettedaria halprinmichelangelo antonioni"
price: "€ 23.85"
currency: EUR
in_stock: true
reviews_count: 7
url: https://www.desertcart.sk/products/17816898-zabriskie-point
store_origin: SK
region: Slovakia
---

# Zabriskie Point

**Brand:** mark frechettedaria halprinmichelangelo antonioni
**Price:** € 23.85
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Zabriskie Point by mark frechettedaria halprinmichelangelo antonioni
- **How much does it cost?** € 23.85 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.sk](https://www.desertcart.sk/products/17816898-zabriskie-point)

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- mark frechettedaria halprinmichelangelo antonioni enthusiasts

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## Description

Product Description               Mark is a student radical. Daria is a beautiful, restless young woman. Their meeting sparks a deep passion in this visually stunning fantasia on the 60s counterculture when fate brings Mark and Daria together in Death Valley's desolate yet stunning Zabriskie Point.Daria (Daria Halprin) is driving to a meeting with her employer. Mark (Mark Frechette) has been forced to steal an airplane to escape from Los Angeles. The two become entranced both by each other and by the fleeting beauty of the shifting desert sands, but their time together is shattered a tragedy that will haunt Daria forever.Bonus Content:Theatrical Trailer                  .com               As a postcard from a bygone era, Michelangelo Antonioni's sole American movie is amazing to look at. This was the Italian director's first film since his English-language breakthrough Blowup (1966), which had been a masterpiece that captivated general and art-house audiences alike. Expectations understandably ran high, and as a visual experience Zabriskie Point delivered. Here was this foreigner's eye, among the most distinctive in world cinema, looking at city and desert, streets and backroads, office towers, mini-marts, police cars, airfields, and nonstop signage--the textures of U.S. life transliterated into something alien and askew. Revisited decades later, that's the aspect of Zabriskie Point that comes fascinatingly to the fore.  >Not so in 1970. Zabriskie Point bombed with critics and audiences because Antonioni proved to be way out of his depth in attempting to relate to American youth and their inchoate revolution--something underscored by the irredeemably amateurish performances of unknowns Daria Halprin and Mark Frechette in the leading roles. The story, such as it is, takes its impetus from a student strike during which a police officer is shot. Whether Mark fired the shot is unclear (the editing at the crucial moment recalls the cop-killing in Godard's Breathless), but he splits. His flight into the desert in a stolen plane will bring him together with Daria, who's driving to Phoenix to meet her employer and possible lover, a real-estate developer (Rod Taylor). What transpires between these two young people has to be seen to be believed, except that it can't be believed. Nevertheless, the events of the next-to-last reel license Antonioni to tee up an extraordinary finale--a hallucinatory apocalypse in which American materialism gets what's coming to it, and the desert becomes a sunset bloom.  It's a measure of the film's miscalculation that, although the Taylor character is clearly meant to personify capitalist rapacity, the actor's professionalism is such a relief from the vapid leads that the guy comes off as sympathetic. There are also brief, welcome turns by G.D. Spradlin (future deliverer of the Apocalypse Now line "Terminate with extreme prejudice") and veteran Western player Paul Fix, whose Death Valley café becomes the scene of an astonishing Edward Hopper moment. Gold is where you find it. --Richard T. JamesonAlso on the DVD The lone extra is the original trailer, with which, like the title song, we can only hope Antonioni had nothing to do. Over images of the prehistoric wilderness that gives the film its name, an adult voice salaciously intones: "Zabriskie Point ... where a boy ... and a girl ... meet ... and touch ... and blow their minds." Cue rock music and mass love-in. --Richard T. Jameson

## Product Details

- **Genre:** Drama
- **Format:** Color, Multiple Formats, NTSC, Subtitled, Widescreen
- **Contributor:** Bill Garaway, Carlo Ponti, Daria Halprin, G.D. Spradlin, Harrison Ford, Harrison Starr, Kathleen Cleaver, Mark Frechette, Michelangelo Antonioni, Paul Fix, Peter Lake, Rod Taylor
- **Language:** English
- **Runtime:** 1 hour and 50 minutes

## Images

![Zabriskie Point - Image 1](https://m.media-amazon.com/images/I/91HXyqF4MaL.jpg)

## Customer Reviews

### ⭐⭐⭐ 3.0 out of 5 stars







  
  
    Antonioni's Career-Killing Train Wreck is Still Worth a Look....
  

*by T***N on Reviewed in the United States 🇺🇸 on March 29, 2009*

Antonioni's career has a fascinating symmetry; his breakthrough, zeitgeist-defining masterpiece L'Avventura was released in 1960, and nailed the as-yet un-named decade that came to be known as "The 60's" to the mast as surely as the contemporaneous films of Godard and Truffaut.  Zabriskie Point, the Heaven's Gate of arthouse cinema, was released in 1970, and its embrace of free love in the desert, psychedelic rock 'n roll and groovy revolution seemed hopelessly dated upon release, and moreover as a celebration of the US counterculture, unintentionally revealed its utter bankruptcy. Antonioni traversed the decade from A to Z, first presciently defining the era, and then succumbing to it worst excesses.Coming off of his huge international hit Blow-Up (a film both praised and hated for all the wrong reasons), MGM gave Antonioni carte blanche to come to America and document Where it Was At. Right there, we have a problem, because Antonioni, one of the most reticent and ambiguous of film-makers, who preferred to suspend meaning, was going to Make A Statement about Amerikka. Then he decided he wanted to cast actual products of the counterculture rather than professional actors, to play the free-spirited leads. Antonioni was no Bresson, these are literally two of the worst performances you will ever see in any movie ever.  Then he hired two young, then unknown counterculture writers Sam Shepherd and Mark Peploe, who would later on do good work, but here were in their artistic infancy.  Suffice to say, the script sounds like it was written by non-English speakers attempting to cram as much ill-understood hippy argot into 90 minutes as possible.  The slight story makes Easy Rider look like Tolstoy. Boy decides to ditch campus radicalism, because he is too much of an anarchic free spirit, but somehow manages to shoot a cop during a demonstration in self-defense; a fugitive, he takes off into the SoCal desert, first in a car, then in a stolen plane; Girl works for a fat-cat real estate developer despoiling the desert with tract housing, meets the boy cute when his plane buzzes her car. They have an Adam-and-Eve like idyll in the desert, the cops catch up with them, and a psychedlic apocalypse ensues. There are three characters with any real speaking parts, and the only sympathetic (because actually acted) person is Rod Taylor as the ostensibly evil fat-cat capitalist, clearly not the intent of the filmmakers.So why is this hackneyed time-capsule, rejected by its intended counterculture audience, still worth watching, if you don't mind seizing up with cringes of embarrassment for an artist laid low by the '60's and his hapless cast every 10 minutes or so? Simple. Even at his worst, Antonioni had an eye for landscape and architecture nearly unparallelled in film history. Here are the highlights:The opening documentary-style debate between members of the USC chapter of the SDS and the Black Panthers, half-out of focus and scored to Pink Floyd's synthesized noises; the Boy's flight from LA to the desert, a travelogue of freeway billboards; the Frank Lloyd Wright-on-crack desert condo project, empty as a ghost-town; the plane-meets-car in Death Valley boy-meets-girl syndeoche; the orgy at Zabriskie Point, where bodies meld with rock and sand; and the unbelievable ending, a consumerist Gotterdammerung scored to Pink Floyd's screaming Careful With That Axe Eugene, which almost redeems the entire enterprise....All of this is shot in massive 'Scope, Antonioni's only super-widescreen film, in brilliant color, and scored by the aforementioned Floyd, along with the Dead, The Stones, and other late '60's luminaries. The unspeakable banality of a script that would warm Charles Manson's heart rubbing shoulders with the director's de Chirico-like visuals is a fascinating spectacle, and actually worth a viewing, not just for its intermittent beauties, but for a moral reason: It shows how an era was so possessed, in the Dostoevskyan sense, that even its best minds were reduced to cheese, atavism, and barbarity (see also Godard's collapse into Maoism, John Lennon's mouthing of hippy platitudes he surely didn't believe, RD Laing's dismissal of the fact of mental illness, the better to pillory social norms, Noam Chomsky's detour from linguistics to treason).  Zabriskie Point should be shown to every middle-schooler to prevent '60's revivalism, it is a fabulous Just Say No.And Antonioni never made a good film again.

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Underrated, Misinterpreted, & Misunderstood Masterpiece
  

*by S***D on Reviewed in the United States 🇺🇸 on May 22, 2011*

It had been several years since I've seen this film, and so all I remembered of it was the generally-admired "explosive" ending.  However, now upon having seen it again twice in the last two days, the film makes sense to me.  The plot is simple enough; that being said, I neither expect nor desire a conventional plot from Antonioni, given that he is filmmaker whose priorities, especially in the case of "Zabriskie Point", were highly visual (the cinematography by Alfio Contini is outstanding).  Several other Amazon reviewers of this picture have commented on the amateurish performance of the leads, Mark Frechette and Daria Halprin; ultimately, their "performances" or "non-performances" have very little to do with the relevance and originality of this film.  Anyone who is familiar with the work of European filmmakers knows that their use of amateur actors has not been uncommon, this having been practiced by the likes of Fellini, Visconti, Buñuel, Godard and Fassbinder; they knew that, for their respective purposes, the presence of an "amateur", as opposed to that of a polished professional, would actually enhance the quality of their films.  Secondly, I believe it is important to look beyond the obvious in this picture.  The desert functions as a metaphor for death, sterility, even purity (sterility being a quality that Antonioni, especially via his silences, is fond of).  And Lee Allen (Rod Taylor) and his company, the "Sunnydune Development Corporation", bring even more death to the potentially deadly desert (the "corporate" representing "man-made death"; the desert representing "natural death").  Daria, Lee Allen's secretary, drives in a dull gray 1950's Buick towards a soulless conference with her boss in the Arizona desert; while Mark returns in his Electric Kool-Aid Acid Test airplane to death on an overcast airstrip (he has his time in the sun and then returns to a foggy demise; it's practically Wagnerian).  Mark's death also functions as a metaphor for the self-destructive youth of that era; his character, whether well-executed or not, functions as the "Anti-Hero".  Daria, in driving away from the "explosion" at the end of the film, rejects capitalism, as it is represented in this picture, and as it manifested during the late 1960's in the United States.  Inspired by the "noble" death of her friend, Mark, Daria finally derives the courage to leave her boss and his bourgeois trappings; which makes Mark's self-sacrifice seem slightly less pointless.  There are also some interesting out of context moments in this film; the boy in the desert town plucking at the strings of a deconstructed, discarded piano; Patti Page's version of "The Tennessee Waltz" is used very effectively in the desert restaurant scene.  Finally, I must agree with many other Amazon reviewers of this film, that the original music composed by Pink Floyd, especially as it is utilized in the final scenes of the picture, is fantastic.  PS--for the linguist and/or the multilingual, this DVD also features both dubbing and subtitles in French, as well as subtitles in Japanese.Stephen C. BirdAuthor, "To Be to Is to Was"

### ⭐⭐⭐⭐⭐ 







  
  
    Five Stars
  

*by D***T on Reviewed in the United Kingdom 🇬🇧 on September 25, 2016*

Classic movie - dvd in good shape.

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*Last updated: 2026-02-21*