Not as engaging in it's detachted style as L'Avventura, worthwhile none-the-less

Loving to depict bourgeois alienation, Antonioni shows here a couple's marriage breaking down, with Monica Vitti as a delightful foil

cold, harsh, dark, - and that's just the drinks

Alain Delon, Francisco Rabal, and Monica Vitti in L'Eclisse (1962)

Gabriele Ferzetti and Monica Vitti in L'Avventura (1960)

David Hemmings and Veruschka von Lehndorff in Blow-Up (1966)

Betsy Blair, Steve Cochran, Dorian Gray, Jacqueline Jones, and Alida Valli in Il Grido (1957)

Jack Nicholson and Maria Schneider in The Passenger (1975)

Marcello Mastroianni and Anita Ekberg in La Dolce Vita (1960)

Marcello Mastroianni, Jeanne Moreau, and Monica Vitti in La Notte (1961)

"When I awoke this morning, you were still asleep. As I slowly emerged from my slumber, I heard your gentle breathing and through the wisps of hair over your face I saw your closed eyes and I could barely contain my emotion. I wanted to cry out, to wake you up, because you slept so deeply, you almost seemed lifeless. In the half light, the skin of your arms and throat appeared so vibrant, so warm and dry that I longed to press my lips against it, but the thought of disturbing your sleep, of you awake in my arms again, held me back. I preferred you like this, something on one could take from me bacause it was mine alone - - this image of you that would be everlasting. Beyond your face I saw my own reflection in a vision that was pure and deep. I saw you in a dimension that encompassed all the times of my life, all the years to come, even the years past as I was preparing to meet you. That was the little miracle of this waking moment: to feel for the first time that you were and always would be mine and that this night would go on forever with you beside me, - with the warmth of your blood, your thoughts, and your will mixed with mine. At that moment, I realized how much I loved you, Lidia, and the intensity of the emotion was such that tears welled up in my eyes. For I felt that this must never end, that all our lives should be like an echo of this dawn, with you no belonging to me but actually a part of me, something breathing within me that could could ever destroy except the apathy of habit, which is the only threat I see. Then you awoke and with a sleepy smile, kissed me, and I felt there was nothing to fear that we'd always be as we were at that moment, bound by something stronger than time and habit."

Jeanne Moreau

Marcello Mastroianni

Monica Vitti

Michelangelo Antonioni

Ennio Flaiano

Tonino Guerra

A day in the life of an unfaithful married couple and their steadily deteriorating relationship.

La notte

Beautiful Cinematography

A day in the life of an unfaithful married couple and their steadily deteriorating relationship.

Bosley Crowther had some kind words for the film, which also won a slew of awards: &quot;Too sensitive and subtle for apt description are his pictorial fashionings of a social atmosphere, a rarefied intellectual climate, a psychologically stultifying milieu—and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting by him. There is, for instance, a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry, exposing the lack of stimulation before nature takes a flagellating hand. Or there&apos;s a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui, desolation and despair.&quot; To me, it all comes down to the cinematography. The casting of Jeanne Moreau and Monica Vitti was important, but the way we get that nice, stark and defined black and white is what I love to see. At a time the Americans had largely switched to color, some of the best in Europe were able to push black and white to the next level.

La Notte

https://m.media-amazon.com/images/M/MV5BMmYxYzAyMjktMGI3MS00NjhmLTk3MzktOTIwYmE0MTljNmZlXkEyXkFqcGdeQXRoaXJkLXBhcnR5LXZpZGVvLXVwZGF0ZXI@._V1_.jpg

A day in the life of an unfaithful married couple and their steadily deteriorating relationship.

Bosley Crowther had some kind words for the film, which also won a slew of awards: "Too sensitive and subtle for apt description are his pictorial fashionings of a social atmosphere, a rarefied intellectual climate, a psychologically stultifying milieu—and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting by him. There is, for instance, a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry, exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui, desolation and despair." To me, it all comes down to the cinematography. The casting of Jeanne Moreau and Monica Vitti was important, but the way we get that nice, stark and defined black and white is what I love to see. At a time the Americans had largely switched to color, some of the best in Europe were able to push black and white to the next level.

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La notte

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