Synopsis

In Milan, after visiting dear friend Tommaso Garani who is terminally ill in a hospital, write Giovanni Pontano goes to a party for the release of his latest book, and his wife Lidia visits the place where she lived many years ago. That night they go to a nightclub, then to a party at tycoon Gherardini's mansion. Through the night Giovanni flirts with his host's daughter Valentina Gherardini--while Lidia flirts with playboy Roberto--and receives a proposal to work for him in the area of communication and write the history of his company.

Production Budget Analysis

The production budget for La Notte (1961) has not been publicly disclosed.

CAST: Marcello Mastroianni, Jeanne Moreau, Monica Vitti, Bernhard Wicki, Rosy Mazzacurati, Maria Pia Luzi DIRECTOR: Michelangelo Antonioni CINEMATOGRAPHY: Gianni Di Venanzo MUSIC: Giorgio Gaslini PRODUCTION: Nepi Film, Silver Films, Sofitedip

Box Office Performance

Theatrical box office data is not publicly available for La Notte (1961). This may indicate a limited release, direct-to-streaming, or a release predating modern box office tracking.

Profitability Assessment

Insufficient publicly available data to assess profitability.

INDUSTRY IMPACT

AWARDS & RECOGNITION

Summary: 6 wins & 4 nominations total

Awards Won: ★ Golden Bear

Nominations: ○ International Submission to the Academy Awards

Additional Recognition: La Notte was selected as the Italian entry for the Academy Award for Best Foreign Language Film at the 34th Academy Awards, but was not accepted as a nominee.

! scope="row"| Berlin International Film Festival

! scope="row"| David di Donatello

! scope="row"| Jussi Awards

! scope="row" rowspan="3"| Nastro d'Argento

CRITICAL RECEPTION

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 84% based on 31 reviews, with an average rating of 7.6/10.

In his review in The New York Times, Bosley Crowther wrote: "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". Crowther praises Antonioni's ability to develop his drama "with a skill that is excitingly fertile, subtle and awesomely intuitive".