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NY Times escribió:Screen: Antonioni Offers 'The Night': Story of a Lost Union at Little Carnegie Jeanne Moreau and Mastroianni in Cast
By BOSLEY CROWTHER
Published: February 20, 1962

AT least, Michelangelo Antonioni lets us know what he's about in his new film,' "The Night" ("La Notte"), which came to the Little Carnegie yesterday.

He is coolly cataloguing with his camera the wealth of telltale things that occur in the course of an afternoon and evening in the life of an Italian novelist's wife as she comes to the dismal conclusion that her husband no longer loves her, that she no longer loves him and she wishes she were dead.

Where Signor Antonioni was elusive, if not obscure, in tracing a dramatic line in "L'Avventura," his controversial film of last year, he is absolutely explicit in tracing the line in this.

He begins with the wife and her husband on their way to a hospital in Milan to visit a dear friend who is dying (this is told to them before they enter the room). And after this harrowing experience, during which everyone tries to be brave, they go on to a chic cocktail party to celebrate the publication of the husband's new book.

Here the wife, still oppressed by sadness, begins to feel lonely, out of place, and wanders off on an aimless excursion that ultimately takes her to a run-down park on the edge of Milan. It is a place she used to visit with her husband. She thinks of him and telephones him at home. Relieved to know where she is, he comes to fetch her. But she still can't make contact with him.

So it goes through the evening. The couple visit a dinner club and watch a smoothly erotic dance act. They are both detached and bored. Then they go on to a huge garden party at the elegant, modernistic home of a Milanese business magnate and spend the long, humid tedious night fumbling with other people and finding themselves ever more apart and alone.

The husband is soundly frustrated in his pursuit of a solemn, lonely girl, and the wife is violently shaken by the evident indifference of her spouse. Finally, they leave the dying party to go out onto a golf course at dawn and face the sober truth of their lost union and the feeble hope that they may still patch it up.

That is the line of the drama, and we state it in order to reveal the simplicity of the progression and the complexity of the tensions implied. For here, as in "L'Avventura," it is not the situation so much as it is the intimations of personal feelings, doubts and moods that are the substance of the film.

And these Signor Antonioni has implanted and developed with a skill that is excitingly fertile, subtle and awesomely intuitive. Upon a crisply graphic background of real buildings and places in Milan that would lead one to expect the exposition of a virtually objective document, he has superimposed and intruded a completely subjective account of the interior loneliness, boredom and emotional exhaustion of a woman, and a man.

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.

As the wife, Jeanne Moreau does a fine job of generating the sodden spirit of vagrant moods and catching the glints of resignation and accusation in her eyes. Marcello Mastroianni, the "La Dolce Vita" lad, is foggy and obtuse as the husband, and Monica Vitti is peculiarly flat and lackluster as the young woman with whom the husband is unable to "communicate." Bernhard Wicki, the German film director, is impressive in the brief role of the dying man, and several Milanese citizens are colorful as garden-party types.

There is a lot of Italian conversation that is complicated and hard to get from the heavy English subtitles. This adds further to the difficulty of fathoming this film, which already demands a large measure of sophistication and sensitivity in its audience. Whether one finds it stimulating or a redundant bore will depend, we suspect, in large measure upon the subtle attunement of one's mood.

La.Notte.1961.DVDRip.XviD.AC3-(fb).avi

La.Notte.1961.DVDRip.XviD.AC3-(fb)-Subs.7z

La.Notte.DVDRip.XviD.anamorphic._vass.CD1.avi

La.Notte.DVDRip.XviD.anamorphic._vass.CD2.avi

La.noche.La.Notte.antonioni.DVDRip.XviD.anamorphic._vass.spanish.rar

tengo un VHSRip con subs incrustados en inglés que no está del todo mal

evol escribió:CD1 Completo.

He visto que el aspect ratio no es el correcto. ¿alguien sabe con que aspect ratio lo tendría que recomprimir para dejarlo bien?
Además tambien tiene el dichoso GMC, que mi reproductor no reconoce... en fin, de todas formas había que recomprimirlo

saludos

La.noche.La.Notte.antonioni.DVDRip.XviD.anamorphic._vass.spanish.rar