La Notte
Non perdere mai il filo di ciò che stai guardando.
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- Regista
- Michelangelo Antonioni
- Sceneggiatori
- Ennio Flaiano, Tonino Guerra, Michelangelo Antonioni
- Protagonisti
- Marcello Mastroianni, Jeanne Moreau, Monica Vitti
- Genere
- Drama, Romance
Marcello Mastroianni
Giovanni Pontano
Jeanne Moreau
Lidia
Monica Vitti
Valentina Gherardini
Bernhard Wicki
Tommaso Garani
Rosy Mazzacurati
Rosy
Maria Pia Luzi
Un'invitata
Guido A. Marsan
Fanti
Vittorio Bertolini
Vincenzo Corbella
Mr. Gherardini
Ugo Fortunati
Cesarino
Gitt Magrini
Signora Gherardini
Giorgio Negro
Roberto
Roberta Speroni
Beatrice
Umberto Eco
Man at the Party (uncredited)
Recensioni
1 recensioneI have always thought Jeanne Moreau to be one of the most striking of actresses. He expressions with her smile and her eyes would have made her a fantastic silent film star. Here she portrays "Lidia", married to "Giovanni" (an equally potent Marcello Mastroianni), with whom she has a pretty open relationship in what is a rapidly deteriorating marriage. It's only after they visit a terminally ill friend "Garani" (Bernhard Wicki) that she becomes distraught, leaves the hospital and her thoughts start to focus a little. She visits the home of her youth, he goes to a party to celebrate the release of his latest tome then they both end up at a lavish soirée where they are as if independent of each other - both pretty shamelessly flirting with other, younger, people whilst maintaining just about enough of a façade to remember that this is all about business. Michelangelo Antonioni has created the ultimately crafted fly-on-the-wall film, here. The photography is intimate, almost invasive, at times as we watch these two people heading on a crash course to marital oblivion taking a great deal of themselves with them too. Though at times outwardly superficial, the characterisations are actually quite complex and both play with a subtle, nuanced charisma that compliments the more obvious symptoms of their declining interest in each other. What also adds a richness to this is a distinct paucity of dialogue. Giorgio Gaslini has provided us with a score that allows the photography to tell us great swathes of the story using imagery only - the lack of needless conversation between the characters helps it to showcase the ostentatiousness of their ball or the use of the Milanese city-scape in the darkness illuminated only by the occassional street-light - and that frequently creates a compelling atmosphere as sterile and barren as is their failing partnership. By the end, we know that something has to give, but what might that be? For two hours it just flies by. It's Golden Bear was well won.
Valutazione
7.9
Votes
762
Popularity
5
Photos
Stills & key art from the movie
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