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1104.99 MB | Runtime 1:55:08 | b/w | Italian with (embedded) English s/t

Audio : mp3 , 48000 Hz , 128 Kb/s , 2-ch

Video : XviD , 1200 Kb/s , 29.97 frm/s , 720x480 (1.66:1)

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Marcello Mastroianni and Jeanne Moreau are affluent but emotionally estranged spouses in Michelangelo Antonioni's 1961 post-realistic classic 'La Notte'. After ten years of marriage, Giovanni a successful novelist, and his wife Lidia have grown apart. He is no longer attracted to her, and she finds him boring and self-absorbed. During the course of a single day, they are faced with heartache, desperation and personal loss. When the night comes, both are tempted by thoughts of infidelity but ultimately return to each another. Unable to come to terms with their emotions, they are left to ponder the fate of their marriage, an unstable union destroyed by indifference of habit and impenetrable loneliness. (-DVD cover)

Giovanni, a sucessful writer, and his wife Lydia visit their friend Tommaso who is dying in hospital. After their visit Giovanni goes to a promotion party for his new book, Lydia visits their old living area of Milano. They meet back at home and decide to visit the party of a billionaire, who wants Giovanni to write a book about the history of his company. Both have flirts, and they both notice this fact. Lydia phones the hospital and is informed, that Tommaso is dead. In the morning she tells her husband that she doesn't love him anymore. (http://imdb.com/title/tt0054130/plotsummary)

The story takes place during one long day-night, in which Antonioni makes some well-pointed observations on a relationship that has been irrevocably damaged as a result of lack of communication. La Notte is a disarmingly honest and moving film. It helps that this time around Antonioni has Marcello Mastroianni and Jeanne Moreau, two charismatic actors that command the viewers' attention. Monica Vitti has a small but truly memorable supporting role. Gianni Di Venanzo's cinematography is fantastic and Antonioni creates tension by challenging us to anticipate the main characters' next move. It is a great film that makes its points in a heartfelt and clear manner.

The symbols have been all used up, exhausted, just as the couple's love has been all used up. The truth of this film resides for me in its final scene when Moreau (Lidia) reads the old love letter out to Giovanni as a cold morning mist snakes around the golf course. It talks about waking up next to her and possessing her so completely that she is no longer herself, but part of him; utterly owned, 'an image I want to keep forever.' But now the image is tarnished, forgotten, and the woman is alone, abandoned -free of her cage, but utterly lost in the dark mean streets of modernity.

"Hush now, don't explain". That's the only thing missing in this wonderful picture of the Maestro: the eternal voice of Billie Holiday over some end-titles. Do not expect explanations, watch the actors carefully and all will be revealed. Neo-realistic ? Sure, look at the rugged camera-angles. A child cries her heart out and we never see her face fully. Of course Lidia walks up to her and strokes the little girls hair smilingly, only to loose interest immediately because of a broken down clock. Symbolism ? Just watch and feel these great actors.

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Rating:
2.5 out of 5 by Book123