Review of La Notte (1961) by Ivan D — 05 Sep 2010

This Antonioni film has caught my attention first when I've recalled how a pointless recommendation to this film was made by "Life of Brian". Then again, reading from a book(from what I remember, "Christianity in Movies" or something along that title), how "impenetrable" this film is.

So indeed I gave the film a try, and as I have expected, it's a slow-moving film but never plods(at least in my view), as it was created not for audiences to anticipate every plot developments, but to be attached into it, to be an observer hovering around the apathetic streets of Milan, an eavesdropper looking in into private social parties, and more importantly, a poor fellow watching over a marriage unaware of its decay.

Marcello Mastroianni and Jeanne Moreau captures with their facial expressions, the ennui of an unhappy companionship, walking around, greeting and smiling to people, but never to each other. Maybe it's just me, but I can imagine "La Notte" to be a very potent companion piece to Fellini's "La Dolce Vita", not just the idea of having the same lead, but also the very core which both films unusually share.

Both dealt with a writer not knowing much of what to do but to divulge into senseless parties, which vividly, ironically depicts the imperfections of the so-called "perfect life". Yes, "La Notte's" center is a failing marriage, and "La Dolce Vita" about one's existential anxiety, but the similarities between the two films are just worth mentioning, especially both being directed by two uncontested masters of the craft.

As much as "La Notte" may look very complex on the surface, Antonioni may have one simple, provocative theme to send through: That the only thing worse than a bitter separation is a marriage pretty much civil in its exterior, but with hidden, deep wounds left to rot within.