Amazon.com: La Notte [DVD] : Jeanne Moreau, Marcello Mastroianni, Monica Vitti, Bernhard Wicki, Rosy Mazzacurati, Maria Pia Luzi, Guido A. Marsan, Vittorio Bertolini, Vincenzo Corbella, Ugo Fortunati, Gitt Magrini, Giorgio Negro, Michelangelo Antonioni, Ennio Flaiano, Michelangelo Antonioni, Tonino Guerra: Movies & TV

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La Notte [DVD]

Jeanne Moreau (Actor), Marcello Mastroianni (Actor), Michelangelo Antonioni (Director, Writer) Rated:

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Format: DVD

4.7 353 ratings

IMDb8.0/10.0

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La Notte (English Subtitled)

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Format	Color, Black & White, NTSC, Widescreen, Subtitled, Letterboxed, DVD
Contributor	Monica Vitti, Michelangelo Antonioni, Jeanne Moreau, Maria Pia Luzi, Vincenzo Corbella, Ugo Fortunati, Giorgio Negro, Marcello Mastroianni, Gitt Magrini, Tonino Guerra, Vittorio Bertolini, Bernhard Wicki, Rosy Mazzacurati, Guido A. Marsan, Ennio Flaiano See more
Language	Italian
Runtime	2 hours and 2 minutes

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4.7 out of 5

353 global ratings

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One of my favorite movies and another great Criterion release

Reviewed in the United States on August 19, 2023

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Only good things to say about this, I'm very happy to finally own one of my favorite movies and the packaging and presentation here is well worth it

Art di Cetrulli

fantastic story, exceptional dialogue

Reviewed in the United States on June 5, 2014

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Antonioni's next feature following L'Avventura was an extremely memorable piece with well turned dialogue which shows Mastroiani, Jean Moreau and Monica Vitti in a mesmerizing flux between each other with each as a possible step toward the viewer's own perspective including the character Tomassi whom they meet at the start of the film. Loneliness pervades the story as each character can only communicate through their given manner and so each is caught within his or her own particular "vacuum" as Vitti describes it during a scene in her room with Marcello M.; nobody in Antonioni's film escapes themselves and they're each looking for some sort of transcendence from their own personal venue whereby each divulges their own stress, or suffocation toward the other ex. Moreau sits in a rocking chair and confesses her doubts about life while Vitti peels the label off a whisky bottle, everybody has some place that they'd occupy according to their manner which is something remembered from earlier Antonioni. Escape and the layers of the character seem to play against each other here on a timetable through the evening that succeeds as a tour of the bourgeois Milanese psyche of that day, and during the course of the night they come together and finally bid each other "Buono Notte" after somewhere earlier prognosticating that the future will be deplorable.
Death keeps everything within bounds too as the call about their friend Tomassi comes during the evening when Moreau discovers he'd passed away 10 minutes earlier, she doesn't share the news with her husband and he only finds out at the end of the film just before she attempts to suggest a divorce. She herself has had some movement toward infidelity with a mysterious male whom her friend introduces her to during the evening, he rescues her from the diving board over the pool during a rain shower and drives her off in his sport car but they can't come together.
To me the overwhelming feeling about the movie was Antonioni's skepticism about the possibility for 'real' exchange, particularly during the scene when Moreau is seen through the glass of the mysterious man's car talking with him with the rain passing over. She looks out and her expression changes from one more immediate to one both very familiar but somewhat more remote, even as they get out of the car for a moment she cannot get out of the carriage of her own personality and they come back as they met, as strangers. Her distance from her husband is summarized in a piece of his writing she reads him at the end while they sit in the sand pit of a golf course in the morning at their host's and she subtly buffets him as the letter describes her waking some morning. There's a hierarchy of personhood in the movie as the viewer himself is approached by the view of the story, eventually the viewer must find themselves too and come back to whomever they were where the film began. Overall, a great story and a heady dialogue that moves your view from character to character and back with a brisk tempo. Great story.

13 people found this helpful

Relationship break-down in the process...

Reviewed in the United States on December 30, 2013

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One of my favorites by Antonioni, the first in the trilogy (followed by L'Avventura and Eclipse).

The title of the movie stands as a metaphor for "an end to a relationship". "Night" or "La Notte" symbolizes
the end of the day, the end of light, and the beginning of darkness when people go to sleep. The title can also
represent the last long scene in the movie, where the two key characters attend a party of a mutual friend, and encounter
their new love-interests, which eventually leads to the demise of their long-time marriage (relationship).
The movie should be viewed more then once, for two reasons: 1) this movie is all about dialogue and character mannerism; therefore, one needs to pay close attention to what is being said and how the characters move, act and respond to each other, especially if Italian is not your first language---2) just like in all Antonioni's film, La Notte is full of hidden messages one has to decipher in order to completely understand the message behind this film; and believe me. the message is not all black and white like the movie's colors would suggest.

This film should be watched by couples on the brink of breaking up, or by couples who seek counseling.
This film is directed towards a psychologically mature audience.
This film show the real talent of Marcello Mastroianni; without a doubt, the greatest Italian actor of the 1960's.
This film is as real as it gets when it comes to dissecting the process of breaking apart.
This film has one of the greatest "sophisticated" party scenes ever captured on the silver screen (in my modest opinion) only comparable to the one in Eyes Wide Shut (1998) by Kubrick.

12 people found this helpful

Reviewed in the United States on April 14, 2022

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Although I don't think this film is as good as " L'avventura" abd "L'eclisse" it does have its good points.The acting is good as are most of Antonioni" films of this period.

michaelangelo, mastroianni and moreau at the pinnacle of artistry!

Reviewed in the United States on November 6, 2016

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Cheers! An amazing cinematic achievement that defines. Italian neo realism. A fascinating portrait of lack of communication in the marriage of a succsessful affluemt author and his neurotic wife in post. World. War. Two. Italian society. The film offers brilliant performances by the two greatest actors of the era's. European cinema. Marcello. Mastroianni and. Jeanne. Moreau. Both are at the glorious peak of their glamour and brilliance. Antonioni's masterful direction of the psychological effect of enviornment upon our psyche and his extraordinary use of the close up in his brilliantly stark cinematography make. La. Notte one of the great definitive achievements of. Italian cinema. Anyone interested in great performances and great filmmaking will be mesmerized. Bravisimi! Luv, diana

14 people found this helpful

The tedium of daily life captured in one long night of searching.

Reviewed in the United States on July 4, 2020

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Michelangelo Antonioni was one of the best Italian directors of the 1960's, and here he investigates in minute detail the boredom at which some marriages eventually end. Moreau and Mastroianni search here and there and everywhere around the city of Milan, but the charm of their initial married life is difficult to re-seize.

La Notte a night to remember

Reviewed in the United States on March 28, 2015

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A disturbing night in the life of a couple wandering around soaking up the pervasive angst.

Mastroianni was never this serious, thin looking, smallish, and intent. A brilliant performance. He never did this kind of work again.Only Antonioni could get him to stop smiling and mugging.

Jean Moreau is the greatest French actress of all time and in Italian she is still great. Unbelievable reactions as she "regards" the world around her.

Must be seen with L'Avventura and "L'Eclisse"..Antonioni's brilliant trilogy.

3 people found this helpful

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Thomas K.

Wie damals - so heute!

Reviewed in Germany on May 30, 2023

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Der Film ist heute genauso brisant und erschütternd, wie damals! Die Menschen ändern sich nicht!

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Elio

Capolavoro

Reviewed in Italy on April 15, 2023

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Il più grande film di Antonioni!!

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Gloria

La Notte, blu-ray Ed. UK.

Reviewed in France on April 24, 2019

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La Notte a bénéficié d’une excellente restauration, Eureka nous gratifie d’une belle édition et d’un transfert HD de haute qualité. Le blu-ray est accompagné d’un livret comprenant des photos et un essai sur le film, et une interview de Michelangelo Antonioni de plus de 40 pages. Pas de bonus vidéo malheureusement. Le film est en VO avec sous-titres en anglais optionnels.
Un film qui mérite plusieurs visionnages, car les personnages et leurs sentiments sont beaucoup plus profonds et complexes que ce que l’on peut penser la première fois qu’on le regarde. Tout de même la première partie est difficile. Les personnages s’ennuient, et nous aussi. Je préfère de loin les autres films du réalisateur. Cependant …Après avoir vu le film une deuxième fois, puis une troisième, on ressent une vraie evolution. Peut-être Antonioni réussit-il à nous faire changer notre façon de voir le monde, en tous cas mon monde est beaucoup plus beau avec ses œuvres que sans elles.

3 people found this helpful

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rick leathem

Good quality

Reviewed in Australia on October 10, 2020

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Good quality DVD, included booklet, arrived on time.

Trevor Willsmer

The end of the affair

Reviewed in the United Kingdom on December 1, 2012

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Masters of Cinema's UK region-free PAL DVD of Michaelangelo Antonioni's La Notte may not have many extras (just a trailer and a detailed booklet) but it has marvellous picture quality that puts Fox-Lorber's previous US release to shame - it looks like it was shot yesterday, which is just as well since the visuals are so important.

Surprisingly accessible, it's one of the great films about architecture - not just the architecture of a city in transition but the emotional architecture of a relationship in quiet crisis. There's a real attention to the shape of things, with clear, clean lines that people never quite fit in. For much of the film Marcello Mastroianni and Jeanne Moreau are constantly separated even when sharing the same frame while in some scenes it is hard to tell what is the reflection and what is the real image, consigning characters to a virtual visual limbo, ghosts haunting their own empty lives.

It defines the state of their relationship in much the same way that Anthony Mann's films use the landscape to define character rather than just to create an environment, going further to offer a state of the nation address. Moreau is part of an Italy that's being torn down and discarded: Mastroianni is drifting towards a post-war modernity where conspicuous wealth and angular concrete, steel and glass design create a kind of anonymous gilded inertia where trivia surpasses real heartfelt connection with people or the past. The relationship is in its last gasps, occupying a kind of wasteland awaiting redevelopment: the scene with Moreau dispassionately reading a love letter filled with powerful and passionate emotions that Mastroianni has forgotten he ever had (he doesn't even remember who wrote the letter) is a killer.

Besides, the film comes highly recommended in the end credits of Monty Python's Life of Brian ('If you have enjoyed this film, why not go and see La Notte?'), so you know it's worth it!

14 people found this helpful

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