La notte

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"La nuit"
"Nuit"
"notte <risorsa elettronica&gt"@it
"Michelangelo Antonioni's La notte"
"Night"
"Nacht"
"Notte"
"nuit"
"directed by Michelangelo Antonioni ; original story by Michelangelo Antonioni, Ennio Flaiano, Tonino Guerra ; director of photograpy: Gianni Di Venanzo ; edited by Eralod Da Roma ; music by Giorgio Gaslini"

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"Giovanni, un célèbre romancier, et Lidia, son épouse, visitent un ami agonisant. Marié depuis dix ans, le couple en difficulté se rend ensuite à une soirée chez des milliardaires. Confrontés au chagrin d'amour, au désespoir et à la perte personnelle, les anciens amants sont tentés par l'infidélité."
"Après avoir vu un ami agonisant, un mari et sa femme qui ne s'entendent plus, vont passer chez des milliardaires une soirée très "dolce vita" et s'étreignent à l'aube, désespérés. Forme une sorte de trilogie ave l'Avventura et l'Eclipse."
""Twenty-four hours in the life of a Milanese novelist (Mastroianni) and his wife (Moreau), during which they visit a dying friend (Wicki) in hospital, go to a nightclub, meet a rich industrialist's daughter (Vitti) at a party, and face the emptiness of their lives and marriage"--Holt foreign film guide."
"Giovanni, scrittore, è sposato con Lidia, ma il suo matrimonio è ormai in crisi. I due passano una giornata assieme, alternando momenti di noia a vagabondaggi per la città."@it
"An emotionally estranged couple faces heartache, desperation, and personal loss all in the course of one night."
"Concentrata nell'arco di poche ore - l'azione si svolge da un pomeriggio di sabato all'alba di domenica - Antonioni descrive il disamore in cui scivola il rapporto sentimentale di Lidia e Giovanni che, fra una visita in ospedale e una festa mondana, si aggirano come fantasmi in una Milano livida e vuota."@it
"Il matrimonio tra lo scrittore Giovanni e la moglie Lidia si trascina senza passione. Dopo la visita a un amico morente, i due partecipano ad un party per la presentazione dell'ultimo libro di Giovanni, poi si recano alla festa di un industriale dove, tra riti eccentrici, Giovanni corteggia la figlia del padrone di casa, e Lidia respinge le avances di un invitato. (Mereghetti)."@it
"An estranged married couple can't seem to let go of their indifferent, unstable marriage."
"Part of Antonioni's trilogy of films focusing on the dislocation and dissatisfaction of urban Italian society. La Notte follows twenty-four hours in the life of a Milanese novelist and his wife. Antonioni describes the husband and wife in this film as "a couple in which the woman is more lucid than the man because the female sensibility is a much more precise filter than anyone else's and because the man, in the area of feelings, is almost always incapable of understanding reality, since he tries to dominate." When it was released, La Notte was officially condemned in the United States by the powerful Catholic Legion of Decency, a body of clerics that condemned many European films (Los Olvidados, Breathless, L'Avventura) as unsuitable for Catholic audiences in the U.S."
"A writer and his unhappily married wife visit a friend in the hospital and go to an all-night party at the home of a wealthy industrialist."
"La crisi sentimentale di Giovanni e della moglie Lidia diventa una parabola simbolica del diffuso mal di vivere della società moderna. Tra la visita in ospedale a un amico moribondo e una festa mondana, Antonioni mette in scena la crisi esistenziale e la solitudine dell'uomo."
""Twenty-four hours in the life of a Milanese novelist (Mastroianni) and his wife (Moreau), during which they visit a dying friend (Wicki) in hospital, go to a nightclub, meet a rich industrialist's daughter (Vitti) at a party, and face the emptiness of their lives and marriage"--Holt Foreign Film Guide."
""Twenty-four hours in the life of a Milanese novelist (Mastroianni) and his wife (Moreau), during which they visit a dying friend (Wicki) in hospital, go to a nightclub, meet a rich industrialist's daughter (Vitti) at a party, and face the emptiness of their lives and marriage"--Ronald Bergan and Robyn Karney, The Holt Foreign Film Guide."
""Twenty-four hours in the life of a Milanese novelist (Mastroianni) and his wife (Moreau), during which they visit a dying friend (Wicki) in hospital, go to a nightclub, meet a rich industrialist's daughter (Vitti) at a party, and face the emptiness of their lives and marriage"-- Holt foreign film guide."
"Mariés depuis dix ans, l'écrivain Giovanni Pontano et sa femme Lidia forment un couple apparemment uni, alors qu'en réalité leur amour est presque mort. Une visite à un ami mourant provoque chez Lidia un accès de mélancolie et d'amertume. Le soir même, les époux cherchent à tromper leur ennui commun dans une boîte de nuit puis dans une soirée mondaine. Chacun de son côté, ils cherchent sans conviction une aventure amoureuse. À l'aube, un entretien douloureux leur révèle la perte de leur amour qu'ils essaient de retrouver dans une étreinte désespérée. [(c) Médiafilm]."
"Twenty four hours in the life of a Milanese novelist and his wife, during which they visit a dying friend in hospital, go to a nightclub, meet a rich industrialist's daughter at a party, and face the emptiness of their lives and marriage."
"Fiction. Drame. Giovanni, un célèbre romancier, et Lidia, son épouse, visitent un ami agonisant. Marié depuis dix ans, le couple en difficulté se rend ensuite à une soirée chez des milliardaires. Confrontés au chagrin d'amour, au désespoir et à la perte personnelle, les anciens amants sont tentés par l'infidélité. Avec Jeanne Moreau, Marcello Mastroianni, Monica Vitti, Bernhard Wicki, Rosy Mazzacurati, Maria Pia Luzi."
"This psychologically acute, visually striking modernist work was director Michelangelo Antonioni's follow-up to the epochal L'avventura. Marcello Mastroianni and Jeanne Moreau star as a novelist and his frustrated wife, who, over the course of one night, confront their alienation from each other and the achingly empty bourgeois Milan circles in which they travel. Antonioni's muse Monica Vitti smolders as an industrialist's tempting daughter. Moodily sensual cinematography and subtly expressive performances make La notte an indelible illustration of romantic and social deterioration."
"During one evening, an author and his wife begin to explore their deteriorating marriage and the indifference that they feel towards their circle of friends."
"Twenty-four hours in the breakdown of a middle-class marriage is the apparent subject of the second of Antonioni's early sixties tetralogy which, in the degree of substitution of contingency for causality in the narrative, was a watershed both for the cinema and Antonioni. All Antonioni's films share what Rohdie calls 'the elusive lost subject' - an impossible search for the unattainable in the pursuit of bodies, identities, feelings. In L'Avventura there is an actual disappearance to provide a focus for the narrative, at least initially. In La Notte the failing relationship between the couple is itself the site of the search, more indeterminate than in the earlier film, being prompted as it is by little more than Lidia's unease, her sense of loss."
"Na hun bezoek aan een stervende vriend dolen een schrijver en zijn vrouw door de stad. Na 10 jaar huwelijk hebben ze elkaar niets meer te zeggen."
"Un escritor de moda vive de su mujer, sin tener aún ingresos propios. Él no ama a su mujer. En una fiesta a la que son invitados, filtreará con la hija del acaudalado anfitrión. El dueño ofrecerá al escritor que trabaje con él, y así podrá tener una independencia económica."