| Maria Schell | ... | Natalia | |
| Marcello Mastroianni | ... | Mario | |
| Jean Marais | ... | Tenant | |
| Marcella Rovena | ... | Landlady | |
| Maria Zanoli | ... | Maid (as Maria Zanolli) | |
| Elena Fancera | ... | cashier | |
| Lanfranco Ceccarelli | |||
| Angelo Galassi | |||
| Renato Terra | |||
| Corrado Pani | |||
| Dirk Sanders | ... | Dancer | |
| Clara Calamai | ... | Prostitute | |
| rest of cast listed alphabetically: | |||
| Giorgio Albertazzi | ... | Narrator (voice) | |
| Lys Assia | ... | Singer - Scusami | |
| Romano Barbieri | ... | Son | |
| Alberto Carloni | ... | Innkeeper | |
| Pietro Ceccarelli | |||
| Anna Filippini | ... | Daughter | |
| Carla Foscari | |||
| Ferdinando Gerra | ... | Father | |
| Giorgio Listuzzi | ... | Police Man | |
| Leonilde Montesi | ... | Mother | |
| Sandro Moretti | ... | Young Man | |
| Winni Riva | |||
| Sandra Verani | |||
Directed by | |||
| Luchino Visconti | |||
Writing credits | ||
| Fyodor Dostoyevsky | (novel "White Nights/Belye noci") (as Fedor Dostoevskij) | |
| Suso Cecchi d'Amico | (story and screenplay) and | |
| Luchino Visconti | (story and screenplay) | |
Produced by | |||
| Franco Cristaldi | .... | producer | |
Original Music by | |||
| Nino Rota | |||
Cinematography by | |||
| Giuseppe Rotunno | |||
Film Editing by | |||
| Mario Serandrei | |||
Production Design by | |||
| Mario Chiari | |||
Set Decoration by | |||
| Enzo Eusepi | |||
Costume Design by | |||
| Piero Tosi | |||
Makeup Department | |||
| Alberto De Rossi | .... | makeup artist | |
| Renata Magnanti | .... | hair stylist | |
Production Management | |||
| Guglielmo Colonna | .... | production supervisor | |
| Pietro Notarianni | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Nando Cicero | .... | assistant director (as Fernando Cicero) | |
| Albino Cocco | .... | assistant director | |
Art Department | |||
| Mario Garbuglia | .... | associate to production designer | |
| Italo Tomassi | .... | manager of art department (uncredited) | |
Sound Department | |||
| Oscar Di Santo | .... | sound technician | |
| Vittorio Trentino | .... | sound technician | |
Camera and Electrical Department | |||
| Silvano Ippoliti | .... | camera operator | |
| Paul Ronald | .... | still photographer | |
Editorial Department | |||
| Eva Latini | .... | assistant editor | |
| Ruggero Mastroianni | .... | assistant editor | |
Music Department | |||
| Franco Ferrara | .... | musical director | |
| The Roland Shaw Orchestra | .... | music performers (uncredited) | |
Other crew | |||
| Renato Jaboni | .... | production secretary | |
| Lucio Orlandini | .... | production secretary | |
| Gabriele Palmieri | .... | script supervisor | |
| Rinaldo Ricci | .... | assistant to director | |
| Vanda Tuzzi | .... | script supervisor (as Wanda Tuzi) | |
| Dirk Sanders | .... | choreographer (uncredited) | |
| Recent Posts (updated daily) | User |
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| What's Mario's job? | fellini812 |
| The prostitute | fellini812 |
| Was the sound recorded on the set? | fellini812 |
| It could've been perfect, but.... | vampirock_x |
| dance scene | negin_n |
| Saawariya | WoooFy |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Italy section | Add this title to MyMovies |
Luchino Visconti's adaptation of Fyodor Dostoyevsky's classic novel fits in perfectly with post-WWII Italy. Marcello Mastroianni and Maria Schell play people from dissimilar backgrounds who meet one night in an Italian town and strike up a relationship.
An important aspect is their backgrounds. He has moved in from out of town, but has quickly gotten to know part of the town. While she has lived in the town her whole life, her grandmother has kept her close and never allowed her to see the other side of the town; she earlier struck up a relationship with another man (Jean Marais), but he left and she doesn't know whether or not he'll return. So then, Marcello Mastroianni and Maria Schell meet on the bridge (the link not only between the two sides of the town, but between the characters' different worlds).
Another representation of contrasts between the separate worlds is shown by the different types of music. In one scene, Maria Schell and her grandmother go to see "Barber of Seville", one of the all-time classic operas. In the restaurant scene, someone plays a Bill Haley song, emblematic of modern music. Luchino Visconti was no fan of rock and roll, but probably felt that it would make for an evocative scene in this case.
But anyway, "Le notti bianche" (or "White Nights") remains an important part of Italy's cinematic history. I hope to see more of Visconti's movie's in the future.