7.1/10
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Good Morning, Night (2003)

Buongiorno, notte (original title)
The 1978 kidnapping of politician Aldo Moro as seen from the perspective of one of his assailants: a conflicted young woman in the ranks of the Red Brigade.

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Cast

Cast overview, first billed only:
... Chiara
... Mariano
Roberto Herlitzka ... Aldo Moro
Paolo Briguglia ... Enzo
... Ernesto
Giovanni Calcagno ... Primo
Giulio Bosetti ... Paolo VI (as Giulio Stefano Bosetti)
Gianni Schicchi ... (as Gianni Schicchi Gabrieli)
Carlo Castelli
... Segretario del Papa
... Medium
Emanuela Barilozzi ... Annalisa
... Sandra
Giovanni Cappelli ... Un impiegato
Antonio De Matteo ... Fratello Chiara
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Storyline

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 manutwo

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Drama

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Details

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Release Date:

5 September 2003 (Italy)  »

Also Known As:

Good Morning, Night  »

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Box Office

Opening Weekend:

€666,593 (Italy), 7 September 2003, Limited Release

Opening Weekend USA:

$2,769, 13 November 2005, Limited Release

Gross USA:

$10,093, 5 March 2006
See more on IMDbPro »

Company Credits

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1.85 : 1
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Did You Know?

Goofs

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 »

Connections

Referenced in Stessa rabbia, stessa primavera (2003) See more »

Soundtracks

I Coraggiosi Cosacchi del Don
Traditional Russian song
Performed by Orchestra e Coro dell'Armata Rossa
Selezione dal Reader's Digest
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User Reviews

 
largely speculative true life story
23 December 2006 | by See all my reviews

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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