La notte (1961)

User Rating:

7.6/10   

Director:

Michelangelo Antonioni

Writers:

Michelangelo Antonioni (story) &
Ennio Flaiano (story) ...

Release Date:

19 February 1962 (USA)

Genre:

Drama

Plot:

In Milan, after visiting dear friend Tommaso Garani that is terminal in a hospital, the writer Giovanni...

Plot Keywords:

Party | Hospital | Writer | Book Signing | Rainstorm

Awards:

6 wins

Cast

Marcello Mastroianni	...	Giovanni Pontano
Jeanne Moreau	...	Lidia
Monica Vitti	...	Valentina Gherardini
Bernhard Wicki	...	Tommaso Garani
Rosy Mazzacurati	...	Rosy
Maria Pia Luzi	...	Patient
Guido A. Marsan	...	Fanti (as Guido Ajmone Marsan)
Vittorio Bertolini
Vincenzo Corbella	...	Mr. Gherardini
Ugo Fortunati	...	Cesarino
Gitt Magrini	...	Mrs. Gherardini
Giorgio Negro	...	Roberto
Roberta Speroni	...	Beatrice (as Roberta Speroni Fortunati)
Odile Jean

Also Known As:

Dare e avere (Italy) (working title)
La nuit (France)
The Night (UK)

Runtime:

122 min

Country:

Italy | France

Language:

Italian

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Argentina:16 | Australia:PG | West Germany:16 | Singapore:PG | Italy:VM14 | Finland:K-16 | Portugal:17 (censored version) | Sweden:15 | UK:X (cut)

Filming Locations:

Milan, Lombardia, Italy

Company:

Nepi Film

Trivia:

Second part of the unofficial "Incomunicabiliy Trilogy" also including L'avventura (1960) and L'eclisse (1962).

Quotes:

Lidia: "When I awake this morning, you were still asleep. As I awoke I heard you gentle breathing. I saw you closed eyes beneath wisps of stray hair and I was deeply moved. I wanted to cry out, to wake you, but you slept so deeply, so soundly. " "In the half light you skin gloved with life so warm and sweet. I wanted to kiss it, but I was afraid to wake you. I was afraid of you awake in my arms again. Instead, I wanted to something no one could take from me, mine alone...

Movie Connections:

Referenced in Z Channel: A Magnificent Obsession (2004) (TV)

A Nutshell Review: La Notte

Technical brilliance aside, La Notte, as the title suggests, happened over the course of a single day, with more than half the movie taking place at a nighttime high society party with dancing, games, and plenty of other idle indulgence, such as frolicking in and around a pool despite heavy rain. We begin with the Pontano couple visiting an old mutual friend Tommaso (Bernhard Wicki), but right from the onset the body language of husband and wife weren't normal of a loving couple, and seemed rather strained. They hardly walk together, nor talk much to each other, and in the presence of their friend, seem to operate individually, and the icing on the cake being Lidia requesting to leave their presence first, and we next see her outside the premises, in one corner sobbing away. Tommaso, despite being ill, can sense this uneasiness, and I suppose his being bedridden and fighting for his life, cannot do anything more for his two good friends other than to remind them to oblige an open invitation to visit his home and his mom.

Surprisingly, I thought Giovanni was a relatively stronger character than other preceding male characters in works before La Notte. While we can sense the marital problems in the movie, he had enough resilience to be able to withstand and resist somewhat, the advances of a gorgeous (though probably crazy) patient in the ward next to Tommaso's, and had the courage to tell his wife about it, though you might look at it the other way as him being spiteful and reminding her that he's still an attractive man. He holds his own against caustic remarks his wife makes in front of strangers, and sometimes just plainly ignores her presence through indifference. But ultimately, it still boiled down to the question of not wanting to pull the plug, of keeping something that's emotionally dead, alive.

That doesn't mean that Lidia just rolls over and plays dead. She doesn't give a second thought of just getting out there wandering about the streets, and soaking in sights and sounds (the various helicopter, jets and home-made rocket scenes still baffles me), before getting into trouble through unwarranted attention from a street-fighter. Throughout the most parts, she's often alone both physically and emotionally, likely to utilize such time offs to ponder about the future of her marital status. Of all the lead female characters I've seen to date in an Antonioni movie, sad to say she's one of my least favourite.

The movie takes place in multiple settings, before converging into the night at the high society party. But there was a pit stop at a nightclub which I thought had a couple of poignant moments for the couple. I felt that they tried to connect with each other the most here, with their reminiscence at various points about their happier times, set against a backdrop of an acrobatic performance. Like in Antonioni's documentary Cina, this film preceded that, though it likely gave us a hint that the director might have found such performances fascinating enough to warrant an extended screen time, set against a fantastically hypnotic jazzy saxophone music piece. Essentially the performance was one of careful balance involving body parts and a glass of wine, perhaps suggesting that in this scene the couple was trying their earnest to tread delicately along their road paved with numerous thorns, that it would be best to just stay on an even keel, to keep to status quo.

Which leads us to the primary setting in La Notte where the status quo got challenged, and to the luminous Monica Vitti, whose hair has gone from blonde as seen in L'Avventura, to jet black here. A lot of things happened during the party, such as Giovanni being offered a job, but especially focused here is the dynamics between the couple and the inclusion of Vitti's Valentina, the bored daughter of the host. There's a continuous sense of probing between letting go, and being presented a chance to break free and engage in some emotional dalliance, including Lidia's short dalliance with a stranger, travelling in a car outside in the rain. Like Story of a Love Affair and L'Avventura, something's in the way in seeking to prolong a temporal happiness, and again, we do not exactly see how that got resolved in the end, as it still posed a series of questions, with no clear cut answers.

And I think I should learn to accept that there will be no clear answers in Antonioni's movies from this point on, and if I could frivolously put it, such is with life itself at times too. But again what continues to intrigue is how the characters in his stories get crafted with extreme care, sensibilities, never being one-dimensional, but fully fleshed out.