Winter 1943. Martina is small child, who stopped talking since the death of her infant brother some years before. She lives in a rural area of central Italy. Her mother is pregnant again ... See full summary »
Rome, early 20th century: a wealthy psychiatrist, who runs an asylum for women and lacks imagination in his practice, must find a wet nurse for his infant when his wife panics after ... See full summary »
1972, Milano. We are just a few days before the general elections. The daughter of a well-known professor is found dead. Mr Bizanti editor in chief of newspaper "Il Giornale", in agreement ... See full summary »
Gian Maria Volonté,
Through a story that looks apparently in disorder, which jumps from the past to the future , using flash backs and flash forwards, the film narrates the restless path of two brothers: Marco... See full summary »
Fiery, dark-haired Stella, an intense auto mechanic, and nervous, blonde Eleonora (aka Lenni) are young and in love, and are from opposite ends of the social spectrum. They operate a gas ... See full summary »
The film, a nostalgic fantasy documentary, depicts in six episodes a family story in Bobbio between 1999 and 2008. We discover the 5 years-old Elena being brought up by her aunts (Marco ... See full summary »
Pier Giorgio Bellocchio,
"I cento passi" (one hundred steps) was the distance between the Impastatos' house and the house of Tano Badalamenti, an important Mafia boss, in the small Sicilian town of Cinisi. The ... See full summary »
Marco Tullio Giordana
Luigi Lo Cascio,
Luigi Maria Burruano,
The movie is based on a true story. On 16 March 1978 Aldo Moro, the former Italian Prime Minister was kidnapped in Via Fani by the Brigate Rosse (Red Brigades), a militant Communist Italian group. He was the main supporter of the Compromesso Storico (Hystorical Compromise), which had to lead to the first Italian government supported by both the Christian Democrats and the Communists, in a period of social, economic and political crises. During the attack his five escort agents were all killed. Moro's corpse was found on 9 May 1978 in a car parked in a street between the headquarters of the Christian Democrat Party and the Communist Party. This movie is inspired by this tragic event which traumatize the whole nation. It focuses mainly on the relationship between the prisoner and his guards through the eyes of Chiara, the young woman whose role is to guard the prisoner. The movie portraits Chiara's life (her job as a librarian, the ordinary household) on one side and the political ... Written by
Near the end, when Aldo Moro walks away in the deserted street, you can see a multicolored Peace flag in the background. Those flags would decorate Italian streets only in 2003, to oppose the invasion of Iraq. See more »
Written by Gianni Boncompagni (as Boncompagni), Paolo Ormi (as Ormi) and Claudio Boncompagni (as Boncompagni) and Mario Landi (as Landi)
Performed by Raffaella Carrà
ABR Edizioni Musicali srl / ARCOIRIS Edizioni Musicali
CBS Records, 1978 See more »
On March 16, 1978, Aldo Moro, the Prime Minister of Italy, was kidnapped by a group of Communist revolutionaries known as the Red Brigade and held in captivity for 55 days. Through letters and photos sent by the kidnappers, the authorities learned that Moro had been given a "trial" by the Red Brigade and sentenced to death for his crimes against the proletariat of Italy - and, indeed, on May 9th of that year, his body was found, riddled with ten rounds of bullets, in the trunk of an abandoned car.
In "Good Morning, Night," writer/director Marco Bellochio takes the events and drains them of much of their sociopolitical significance, choosing instead to focus on the human drama at the story's core. Bellochio looks at the ambivalent feelings and conflicted motives underlying the kidnappers' actions, particularly in the case of an attractive young woman named Chiara (confidently played by Maya Sansa), who comes to question her commitment to "the cause" as the reality of what they are planning to do begins to sink in. It is largely through her eyes that we come to view the events and to see Moro less as an impersonal force to be manipulated for political purposes and more as a simple human being with all the fears, insecurities and desperate desire for life common to us all. Indeed, the political aspects stay largely in the background, relegated mainly to clips of stock footage showing us the principal players of the time dealing with the crisis.
With its dreamy visions, fantasy sequences, and tendency towards wild speculation, the film may frustrate those who would have preferred a more historically accurate, documentary approach to the topic. But Bellochio, as an artist, is less concerned with the "facts" of the case than with exploring the dilemma of the revolutionary's mindset. And to that end, he has done an exemplary job in "Good Morning, Night."
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