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The Big Night (1959)

La notte brava (original title)
Una notte di due balordi, Scintillone e Ruggero, a cui si aggiunge in seguito un terzo, Bellabella, che dopo un furto vengono a loro volta derubati. Tentano poi di rubare un'apparecchio ... See full summary »

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Writers:

(novel), (screenplay) | 1 more credit »
Reviews
1 win & 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Rossana
...
Anna
...
Ruggeretto
...
Scintillone
Anna Maria Ferrero ...
Nicoletta
...
Bellabella
...
Moretto
...
Laura
Antonella Lualdi ...
Supplizia
Maurizio Conti ...
Pepito
Piero Palmisano ...
Il sordomuto
Franco Balducci ...
Eliseo
Mario Meniconi ...
Mosciarella
Isarco Ravaioli
Cristiano Minello
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Storyline

Una notte di due balordi, Scintillone e Ruggero, a cui si aggiunge in seguito un terzo, Bellabella, che dopo un furto vengono a loro volta derubati. Tentano poi di rubare un'apparecchio fotografico da una macchina; sorpresi dal proprietario, Achille, ci fanno amicizia e si recano a casa sua. Qua rubano nuovamente, duecentomila lire, e scappano. Ma litigano per il bottino. Così tra liti, arresti e donne continua la notte finchè all'alba Ruggeretto si ritrova con mille lire e la nausea. Written by Baldinotto da Pistoia

Plot Summary | Add Synopsis

Taglines:

One of Italy's Most Outstanding Films. See more »

Genres:

Drama

Certificate:

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Details

Country:

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Language:

Release Date:

12 November 1959 (Italy)  »

Also Known As:

The Big Night  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex System)

Aspect Ratio:

1.85 : 1
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Connections

Referenced in Wie de Waarheid Zegt Moet Dood (1981) See more »

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User Reviews

 
Pasolini's World

"La notte brava" is a daring film for its time, as it deals —according to the permissiveness of the time in European film industries— with prostitution, pimping, black market, homosexuality, pedophilia, bourgeois decadence. It is also an impressive showcase of young talent in Italian and French cinemas, and of the beautiful faces of almost the entire cast, with special emphasis on Lualdi, Milian, Martinelli, Terzieff, Ferrero, Brialy and Schiaffino. Its scripwriter Pasolini would later "correct" this glamorous surface in his own films, populated by people from the streets of Rome and other cities, people's faces, the faces Pasolini speaks of in his work; and being more explicit when dealing with the subjects that are touched in this fine production.


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