The second installment in his trilogy of discontent, Michelangelo Antonioni’s La Notte attempts to examine a couple who have essentially lost themselves in a society dominated by technology, and conspicuous consumption. Once passionately in love, the couple are mere reflections of their former selves as they try to rediscover what brought them together in the first place.

Giovanni Pontano (Marcello Mastroianni), a successful writer, and his beautiful wife Lidia (Jeanne Moreau) visit their dying friend Tommaso Garani (Bernhard Wicki) in a Milan hospital. Understandably, Tommaso is taking stock of his life; the good and the bad. Though physically healthy, Giovanni and Lidia are questioning their own contribution to society. Though the couple are on their way to a book signing for Giovanni’s latest work, the success rings shallow for both of them.

Lidia, masking her sadness, excuses herself from her friend’s hospital room to have a quiet cry outside. Giovanni leaves the room minutes later, but before exiting the hospital he is accosted by a beautiful mental health patient (Maria Pia Luzi), with an overheated libido. A striking woman, Giovanni doesn’t resist when she pulls him down on her bed. Fortunately, a couple of nurses rush in to break up the developing tryst before anything significant can happen.

The power of La Notte is in the couple’s lack of reaction to each other. When Giovanni tells his wife about the hospital encounter, she doesn’t react with anger. Instead, she laughs it off, implying it will make good material for one of his stories. When they go out together, Lidia is indifferent when Giovanni openly ogles a stripper. As the film progresses Lidia is pursued by other men, but unlike Giovanni, rebuffs them in favor of her spouse. It comes as little surprise when Lidia realizes she’s no longer in love with Giovanni is utterly blindsided. He is so into his own satisfaction, he hadn’t even stopped to think about her in relation to him.

Given that so much of the film’s power lies in what’s left unsaid, it’s natural that La Notte isn’t everyone’s cup of tea. For those craving overt action, Antonioni’s plodding narrative and long, pondering shots could be boring. For others, the emphasis on surroundings, expressions (or lack thereof), will speak volumes. In truth, the plot isn’t particularly notable. Instead, it’s the fearless manner in which Antonioni deconstructs romanticism that makes La Notte an interesting entry in his filmography.

Presented in its theatrical aspect ratio of 1.85:1, Criterion’s 1080p transfer is sharp throughout. Contrast is excellent, offering a wonderful black and white picture. Shadow detail is also spot on. The English subtitles are printed in white and are easy to read.

The Italian LPCM 1.0. audio track serves the film very well. Dialogue is crisp throughout, and the jazzy tunes that pop up sound full when needed. The track itself is fairly consistent, with no sudden drops in dynamic range. Any trace of hiss has been removed as much as possible, and no distortion is evident.

English subtitles are included.

The following extras are available:

  • Adriano Aprà/Carlo di Carlo Interview (HD, 26:52) In this 2012 interview, film critic Adriano Apra and film historian Carlo di Carlo discuss the structure of La Notte, with particular focus on the relationship between Marcello Mastroianni and Jeanne Moreau’s characters, the “disease of emotions” that has affected their lives, the importance of sound in Antonioni’s films, and more.
  • Giuliana Bruno Interview (HD, 31:21) In this 2012 interview, Giuliana Bruno, a professor at Harvard University’s Department of Visual and Environmental Studies, discusses the visual style of La Notte, the narrative structure, and the role of architecture in the film.
  • Trailer (HD, 3:11) The original Italian theatrical trailer.
  • Booklet: The seventeen-page booklet features an essay by critic Richard Brody and a 1961 article by director Michelangelo Antonioni.