Le Notti Bianche (Italian language, no subtitles)

Italian director Luchino Visconti has (to some extent, rightly) been criticised in some circles for the (overly) melodramatic content of his film-work. This 1957 film, based on a Dostoevsky short story, shot in atmospheric black-and-white by regular DoP Giuseppe Rotunno and set in an unnamed city (although actually shot on a studio set based on the 'Venice district' in the Tuscan city of Livorno) could certainly be a target for any such criticism. However, for me, whilst I would agree that Le Notti Bianche does (at times) overdo to the sentimentality a little (usually to a sweeping Nino Rota musical theme), the film has a number of typical Visconti cinematic touches, and redeeming features (if you like), that lift it above simply another 'mainstream' cinematic tearjerker.For me, foremost among its qualities is the central (relatively early career) performance by Marcello Mastroianni, as Mario, a newcomer to town who chances upon Maria Schell's star-crossed lover, Natalia, whilst wandering the street at night. Mastroianni's performance is certainly the most complex (and, I would say, convincing) major character interpretation here, and as Natalia's back-story of her infatuation with Jean Marais' enigmatic older man, 'the lodger', is revealed, Mastroianni goes through the 'acting wringer' of restraint, aloofness, infatuation, reticence and (eventually) exuberance in his pursuit of his 'love at first sight' target, Natalia. For me, therefore, whilst Mario and Natalia's relationship is very credible, that between Natalia and her lodger is much less so (partly because its 'rationale' is only briefly addressed by Visconti). Marais is not required to do much in the way of acting, whilst Schell arguably does 'too much' - impressively heartfelt (and deluded) in parts, hysterically and mercurially melodramatic at other times.Whilst the vast majority of Visconti's film focuses on Mario and Natalia's tempestuous (almost operatic) relationship (predominantly during night-time scenes), also featured are a number of typically brilliant (neo-realistic) touches and character cameos. Marcella Rovena is superb as Mario's brassy, indiscreet landlady, whilst the director also includes a funny scene with a street vendor (who is constantly expounding on the legality of his trade). Visconti also demonstrates the versatility of his theatrical know-how by including an opera scene from The Barber of Seville, and (at the other end of the musical spectrum) an intoxicating dance sequence (West Side Story-style) to Bill Haley's song 13 Women (the latter at which Mario finally 'lets himself go'). There is also a cleverly shot sequence of Natalia pouring out her heart to (alternately) Mario and Marais' character (shot so that the audience is temporarily unsure of who Natalia is talking to).Mastroianni is particularly good as he begins to become frustrated with Maria's (to him, irrational) infatuation with the lodger ('It's like asking me to believe in a fairy tale') and adopts a more reticent stance towards Maria. Of course, his own deep longing for her eventually consumes him and although we (the audience) can see the film's ending coming a mile off, it is no less powerful for that.

The blu-ray version has no English subtitles. Italian only! The dvd version of this Cristaldi release does have English subs though... that's why people review ing that product are happy. Amazon uk should keep the user reviews of different products separate . Also the transfer on blu ray is not that great...atrocious edge enhancement.

Fyodor, Luchino and Marcello! The holy trinity! Great film!

Woderful film, good dvd.

A lovely film, beautifully acted by Mastroianni and Schell.

A great 1950s masterpiece.A beautiful ,poignant triangular love story,anchored in 1950s Venice.Highly atmospheric,with a totally authentic feel of time and place(as in "The Leopard",even though it was made in a studio).Very well acted by the main leads,especially Marcello Mastroianni,with great chemistry with the leading lady(Maria Schell).The other man,is played by Jean Marais(La BETE ,in LA BELLE ET LA BETE (1946).Beautifully made film,however the heroine portrays a character that may seem a bit naive, these days,eternally waiting for her eternally absent lover to return ,but one must remember it is taken from a play by Dostoyevski,and that the 1950S were more trusting and innocent times.Probably requiring a multi-regional DVD player,as most Criterion Region 1 DVDs, are strictly as described.