La Notte by Michelangelo Antonioni is the
story of the sour marriage between the celebrated writer Giovanni Pontano played by Marcello
Mastroianni and his wealthy wife Lydia Pontano played by Jeanne Moreau. They have survived many
years together and are in the depths of major disenchantment. Jeanne Moreau was 33 at the time and
her exotic and sophisticated looks captivate the screen. While her husband is invited to book
signing parties she takes off and wanders aimlessly observing people and places, eventually to a
part of the suburbs where she once lived with Giovanni and they were happy.
La Notte was
recently screened as part of an exhibition at the Modern Museum in Stockholm on design in Milan and
Turin. The film is set in Milan in the early 60’s, a modern cold and efficient city. Airplanes fly
overhead and destroy the calm. They can be heard while the Pontanos' visit their best friend Tommaso
Garani who is dying in the hospital. Lydia leaves the room in tears. A female patient tries to later
seduce Giovanni who doesn’t offer much protest. Her nurses walk in on this and he leaves. He later
tells Lydia that he is going to tell her something unpleasant, "do you
have to"? she
coolly replies. Lydia and Giovanni later go to a nightclub to watch some erotic dancing, which
Giovanni gives his full attention to while Lydia tries vainly to reach him. They decide to go to the
party of a wealthy businessman. Giovanni tempts fate again with the daughter of the host who is the
wealthy owner of a large company. Valentina Gherardini played by Monica Vitti who at the time Vitti
was three years younger than Moreau convincingly plays a 22 year old. Giovanni is enamored by
Valentina’s joy for life, something that Lydia unemotionally observes. She too takes a ride with
another guest at the party but turns him down when he wants more. About this time everyone has jumped into the swimming
pool fully dressed.
Antonioni’s films use landscape as a major protagonist, and in
La Notte
is it urban landscapes with empty cocktail party rituals. There is not an excessive amount of
dialogue with many spaces in conversation. Moreau is part of the landscape, her physical body
transecting different spaces, and encounters with people. The large imposing mansion of Mr.
Gherardini is like Milan, cold and functional. The frivolity of the party with guests also crisscross
a sober landscape. Valentina amuses herself with a game on the floor. Giovanni is offered a
job with her father, something that will free himself from living on the wealth of his wife. And there is the
possibility he can start afresh with Valentina. All seems too perfect. The events seem random yet there
is an order. More than anything
La Notte conveys the emptiness of modern city life and the
antiseptic effect of affluence and fame. Lydia tells Giovanni that she doesn’t love him anymore and
he suddenly realizes that he hasn’t been paying attention to her (for a long time). He refuses to accept her rejection
and struggles to show emotion. For the second time in this film this emotional outburst seems out of
place for nowhere is it possible to show human warmth other than through the scenes of the dying
Tommasso or the imminent death of a cold and efficient relationship.
For Movie Magazine this is Moira Sullivan Stockholm SWEDEN
© 2008 - Moira Sullivan - Air Date:
09/08
More Information:
La Notte
Italy/France - 1961