Linbeymusol Wonderful character development!

Unlimitedia Sick Product of a Sick System

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

jacobs-greenwood ... as it beats you over the head with its premise that marriage (life?) is boring. While many reviewers here have used words like masterpiece to describe it, La Notte is a one-note song played over and over again for more than 2 hours by director Michelangelo Antonioni. The film could easily run 90 minutes (or less) and still make its point.The first half features several long, largely dialogue-less scenes of the married couple (Marcello Mastroianni and Jeanne Moreau) meandering, separately or together, to show that they're obviously bored with each other and probably life in general. This transitions into "the night" which starts at a nightclub featuring an unusual 'acrobatic' performer, whose 'feats' with a wine glass are seemingly endless.The rest takes place during a socialite party at the expansive estate of a wealthy capitalist. As a successful writer, Mastroianni's character is deemed an intellectual among the businessmen in attendance, and a catch among the women. Moreau is less social, more of a loner really, who resists the temptations of dalliances, unlike her husband.

wes-connors In Millan, Italy, successful author Marcello Mastroianni (as Giovanni Pontano) and his likewise attractive wife Jeanne Moreau (as Lidia) drive past a bulldozer to visit their dying friend Bernhard Wicki (as Tommaso). If you don't sense writer-director Michelangelo Antonioni's death and desolation symbolism immediately, look for it in the faces of Mr. Mastroianni and Ms. Moreau. After ten years, their marriage is seriously on the rocks. The couple attend parties celebrating the publication of Mastroianni's new novel. Restless and bored, Moreau wanders around in the colorless city. Mastroianni follows suit. They give cinematographer Gianni Di Venanzo and Mr. Antonioni locations to beautifully capture on film. Mastroianni flirts with party girl Monica Vitti (as Valentina). Moreau parties with a young playboy. Finally, the drifting co-stars make an attempt to flirt with each other, by which time you likely won't care how the night ends. It sure looks nice, though.****** La notte (1/24/61) Michelangelo Antonioni ~ Marcello Mastroianni, Jeanne Moreau, Monica Vitti, Bernhard Wicki

cmccann-2 After the success of L'avventurra (1960), Michelangelo Antonioni made the second entry in his trilogy on "modernity and its discontents" - La notte (1961). The film concerns Giovanni and Lidia Pontano, a bourgeois couple who realize their marriage has lost its spark over the span of a night. Improving on l'avventurra, La Notte is an affecting cinematic poem about alienation in modern times.The film concerns Giovanni Pontano (Marcello Mastroianni), a writer who's recently penned a best-selling novel, and his wife Lidia (Jeanne Moreau). Amidst a background of technology, futuristic skyscrapers, and industry, they go through the motions of their marriage - the romantic fervor which once defined it now a distant memory. The Pontano's are eventually invited to an upper class party, where Giovanni runs off with the host's daughter Valentina (Monica Vitti). When Lidia learns of Giovanni's infidelity, the two must ultimately confront the truth of what their marriage has become in the picture's poetic climax.Mastroianni, Moreau, and Vitti all give fine performances. The cinematography of Antonioni and DOP Gianni Di Venozo perfectly illustrates the film's themes, placing characters against their highly modern milieus and articulating what Adorno described as the alienating effect of technology on the modern consciousness. Meanwhile, the screenplay by Antonioni and Tonino Guerra is La notte's driving force, it has the power of a highly affecting novel, every minute hurtling towards the film's inevitable conclusion.In summary, La Notte elaborates on themes present in L'avventurra, in my humble opinion improving on its predecessor film. An all-time favorite of both Stanley Kubrick and Ingmar Bergman, those looking for a film experience that is thought-provoking, emotional, and artful would do well to seek it out.

MartinHafer Marcello Mastroianni and Jeanne Moreau star as a married couple whose relationship is fizzling. That's pretty much the entire film.I know that this film is considered a classic by many people 'in the know' and it's something film critics would go gaga over, but I couldn't help but thinking that this was the most insufferably dull movie I've seen in a long time. Sure, it might be a realistic depiction of a couple as their relationship disintegrates...but so what?! It's ponderous and unpleasant to watch and it felt like an endurance contest to complete. Too many times, you see Moreau or Mastroianni just walking about town...SLOWLY...doing NOTHING!!! Now I know many consider this deep or amazingly realistic--I consider it to be about as captivating as watching paint dry. No...watching paint dry is MUCH more interesting.