La Notte (1961)

A day in the life of an unfaithful married couple and their steadily deteriorating relationship.

Director:

Michelangelo Antonioni

Writers:

Michelangelo Antonioni (story), Ennio Flaiano (story)

Stars:

Jeanne Moreau, Marcello Mastroianni, Monica Vitti

6 wins & 2 nominations.

Cast

Complete credited cast:
Marcello Mastroianni	...	Giovanni Pontano
Jeanne Moreau	...	Lidia Pontano
Monica Vitti	...	Valentina Gherardini
Bernhard Wicki	...	Tommaso Garani
Rosy Mazzacurati	...	Rosy
Maria Pia Luzi	...	Un'invitata
Guido A. Marsan	...	Fanti (as Guido Ajmone Marsan)
Vittorio Bertolini
Vincenzo Corbella	...	Mr. Gherardini
Ugo Fortunati	...	Cesarino
Gitt Magrini	...	Signora Gherardini
Giorgio Negro	...	Roberto
Roberta Speroni	...	Beatrice

Storyline

In Milan, after visiting dear friend Tommaso Garani that is terminal in a hospital, the writer Giovanni Pontano goes to a party for the release of his last book, and his wife Lidia Pontano visits the place where she lived many years ago. In the night, they go to a night-club, and later to a party in the mansion of the tycoon Mr. Gherardini. Along the night, Giovanni flirts with Valentina Gherardini, the daughter of the host, and then he receives a proposal to work for him in the area of communication and write the history of his company. Meanwhile, Lidia flirts with the playboy Roberto.

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Plot Keywords:

party | writer | marriage | husband wife relationship | socialite | 

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Taglines:

Many nights led to this night, nights of time, nights of fear, nights of love, nights of loneliness, nights of pursuit and conquest, nights without privacy, and this night - a night of truth.

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Genres:

Drama

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Certificate:

Not Rated

Details

Country:

Italy France

Language:

Italian English French

Release Date:

19 February 1962 (USA)

Also Known As:

The Night

Filming Locations:

Milan, Lombardia, Italy

Box Office

Opening Weekend USA:

$10,547, 16 September 2016, Limited Release

Gross USA:

$39,236, 16 December 2016

Company Credits

Production Co:

Nepi Film, Sofitedip, Silver Films

Technical Specs

Runtime:

122 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

At approximately 108 minutes in, after Lidia has dried-off in Valentina's room, discussing vices as she takes her first sip of whisky, Lidia asks Valentina, "How old are you?". "Diciotto e molti, molti mesi", answers Valentina ("Eighteen and many, many months"). The subtitles say "Twenty-two".

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Goofs

Boom visible in shadow form as Giovanni leaves Tomasso's hospital room and walks down the corridor at 16mins or so into the film.

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Quotes

Tommaso Garani: Soon hospitals will look just like nightclubs. People want a good time right to the very end. Ah, the champagne.

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Connections

Referenced in Play It Again, Christos (2007)

User Reviews

Urgency of desire

It's not because of films like this that Antonioni is great for me, it's because he tutored with them and grew wiser for his later more important works. Because having dissected with simple precision the crushing dilemmas of whether or not love is possible, realizing this ineffability of human connection, he could see this was not the end of our suffering and if this was not the end, we could still not rule conclusively that we have no chance to attain peace in this life.

After he concluded with the two lovers willingly not pursuing their feelings at the end of L'Eclisse, he turned inwards, and with each subsequent film he peered under one more veil of false perception. But what was he trying to look into in La Notte, what does he find here?

La Notte is a step behind L'Eclisse, naturally. Here love matters, or is thought that it should, to the bitter end. The finale is overbearing with pessimism then because love fails to be that saving grace, that we're still alone, consumed by our desires. But that's not all of it either.

Even when Mastroyanni painfully knows that the love he cherished has vanished with time and habit, he still clings to it. Even a dragging routine is preferable than the emptiness of solitude. This is how love functions here, as a shelter that soothes the existential pains, or a mask that mercifully obscures them.

But these people are not simply lost adrift in faceless crowds and cold rooms, they're clinging on the craving of desire for their salvation. When I say that the mind is not transcended yet in these films of Antonioni's alienation phase, it's because it still dictates desire, the terms under which a meaningful life should be pursued.

But to show that love is not our saving grace because it's subject to the whims and tedium of time would be to concede that we are merciless at the hands of higher forces beyond our control, that we're not masters of our fate. It was important in this aspect to go a step beyond, to show us characters become aware of the emptiness of desire by willingly giving up on it. But for that we'd have to go ahead to L'Eclisse and Il Deserto Rosso.

By itself La Notte may seem like it's laboriously pondering to say too little. As part of an oeuvre though, it has a place that can't be dismissed lightly.