We watched Antonioni’s 1961 film La Notte the other evening, never having seen it before. It explores the familiar themes of the period — alienation, boredom, meaningless relationships, non-communication, infidelity, the emptiness of bourgeois life — which it conveys in a dialogue of sententious non-sequiturs. If today we think Antonioni’s script, written with Ennio Flaiano and Tonino Guerra, takes itself a bit too seriously and says not very much, his direction and Gianni di Venanzoni’s superlative black and white cinematography are of a very high order indeed and the film is worth watching for those things alone.
Each scene is meticulously arranged, showing the influence of the art of the time, and that abstract perfection, along with the static camera and way the characters carry their elegant clothes, convey a fitting coldness.
The balletic scene towards the end, where Marcello Mastroianni, Jean Moreau and Monica Vitti revolve slowly round one another, each dressed in black and silhouetted against a white wall, epitomises the film.