The fact that Jeanne Moreau is dubbed in Italian is never an issue. While the revelers dance to a live jazz band in the vast garden, the Pontanos go their separate ways. We come to know that lavish party house inside and out.
The source materials are in decent shape yet show signs of age; there are faint tram lines in places, a few bits of debris, and some obvious pulsating, but none of it is detrimental.
They go to a party where they both are so clearly uninterested in the social circle they travel in. Artifacts are not an issue, no edge halos are present, no noise, and no evidence of overzealous cleaning.
La Notte is a film that comes across as occasionally surreal, but a lot of that is owed to the master filmmaker behind the camera. As the dawn approaches, the Pontanos find themselves together again.
Architectural context is everything for this director. The first thing we see is a shot of a glass tower blocking our view of an older, traditional building. Nine years later his England-set Blow-Up became the first of several internationally based movies.
The slightly jaded, self-obsessed Giovanni is so caught up in complacent comfort that his handsome face seems drained of real emotion. She finally calls Giovanni from a neighborhood where some young men are firing off small rockets. Explained simply, this is a story of a man and his wife Marcello Mastroianni and Jeanne Moreau who appear to have fallen out of love with one another.
The neglected Lidia feels as if she has been cheated in life: German actor Bernhard Wicki was also a prolific film director. Valentina sees nothing wrong with flirting with Giovanni, but makes no promises and surrenders no emotional ground.
Retaining a realistic surface, Antonioni observes his disaffected husband and wife through their subdued, muted behaviors. Because of this the track is pretty flat and one-note. It creates strong feelings about its characters, a quality that seems of less importance to the director in some of his more abstract, complex films.
They play a shuffleboard- like game on the checkered floor of the playroom, which becomes an impromptu arena and betting parlor for the party guests.
Each resents seeing the other behave in a lively and animated manner around other people. October 29, Review Date: Though I probably would have preferred a commentary the interviews are a concise examination of the film.
What makes Michelangelo such an admired filmmaker? The same scene features another narrative clue as a helicopter interrupts the hospital room conversation. Have they learned anything?
She also explains how the use of walls, space, and windows are used to give a sense of the characters, their thoughts, and feelings.La Notte is an amazing film that tears at your memories of failed relationships and lost loves.
Every moment of opportunity is presented and the fatal spoiled response of someone living too deep in their head is presented in a subtle and accurate way/5(63). A look at the Criterion Collection Blu-ray release of Michelangelo Antonioni's La Notte starring Marcello Mastroianni and Jeanne Moreau.
In her essay “The Sick-Soul-of-Europe Parties,” a diatribe against European art house cinema, Pauline Kael understood “La Notte”‘s introversion as emptiness. One of the masterworks of s cinema, La notte • page booklet with a new essay by film-critic and scholar Brad Stevens, and the transcript of a lengthy Q&A conducted in with Antonioni upon the film’s release.
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