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Buenos Días, Noche

Título original: Buongiorno, notte
  • 2003
  • 1h 46min
CALIFICACIÓN DE IMDb
7.1/10
4.2 k
TU CALIFICACIÓN
Buenos Días, Noche (2003)
Drama

El secuestro del político Aldo Moro de 1978 visto desde la perspectiva de uno de sus atacantes: una joven conflictiva de las filas de la Brigada Roja.El secuestro del político Aldo Moro de 1978 visto desde la perspectiva de uno de sus atacantes: una joven conflictiva de las filas de la Brigada Roja.El secuestro del político Aldo Moro de 1978 visto desde la perspectiva de uno de sus atacantes: una joven conflictiva de las filas de la Brigada Roja.

  • Dirección
    • Marco Bellocchio
  • Guionistas
    • Anna Laura Braghetti
    • Paola Tavella
    • Marco Bellocchio
  • Elenco
    • Maya Sansa
    • Luigi Lo Cascio
    • Roberto Herlitzka
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.1/10
    4.2 k
    TU CALIFICACIÓN
    • Dirección
      • Marco Bellocchio
    • Guionistas
      • Anna Laura Braghetti
      • Paola Tavella
      • Marco Bellocchio
    • Elenco
      • Maya Sansa
      • Luigi Lo Cascio
      • Roberto Herlitzka
    • 23Opiniones de los usuarios
    • 57Opiniones de los críticos
    • 69Metascore
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 13 premios ganados y 21 nominaciones en total

    Fotos15

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    Elenco principal33

    Editar
    Maya Sansa
    Maya Sansa
    • Chiara
    Luigi Lo Cascio
    Luigi Lo Cascio
    • Mariano
    Roberto Herlitzka
    Roberto Herlitzka
    • Aldo Moro
    Paolo Briguglia
    Paolo Briguglia
    • Enzo
    Pier Giorgio Bellocchio
    Pier Giorgio Bellocchio
    • Ernesto
    Giovanni Calcagno
    • Primo
    Giulio Bosetti
    • Paolo VI
    • (as Giulio Stefano Bosetti)
    Gianni Schicchi
      Carlo Castelli
      Bruno Cariello
      Bruno Cariello
      • Segretario del Papa
      Alberto Cracco
      Alberto Cracco
      • Medium
      Emanuela Barilozzi
      • Annalisa
      Roberta Spagnuolo
      Roberta Spagnuolo
      • Sandra
      Giovanni Cappelli
      • Un impiegato
      Antonio De Matteo
      • Fratello Chiara
      Alessandro Luci
      Alessandro Luci
      • Prete
      Massimo Sarchielli
      Massimo Sarchielli
      • Impiegato
      Maria Pia Iannuzzi
      • Impiegata
      • Dirección
        • Marco Bellocchio
      • Guionistas
        • Anna Laura Braghetti
        • Paola Tavella
        • Marco Bellocchio
      • Todo el elenco y el equipo
      • Producción, taquilla y más en IMDbPro

      Opiniones de usuarios23

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      Opiniones destacadas

      8dromasca

      beautiful minor movie on a major event of the Italian history

      Aldo Moro's kidnapping and murder was at its time a huge event for the Italian history and the world. With the recrudescence of terrorism at the beginning of the 70s, some of the extreme left movements in Europe - especially in Germany and Italy - embraced the path of the 'armed struggle', a deformation of the Marxist concept of class struggle in a try to stop the historical reconciliation between the traditional political parties and an Italian Comminist Party already feeling the winds of reform that will melt down the Iron Curtain 10-15 years later.

      Marco Bellocchio's film tackles the story from the perspective of the day to day life of the kidnappers, and through the eyes and dreams of one of the kidnappers - the only female in the group. We do not see any of the bloody events of the kidnapping or the outcome, and most of the action happens in the rented flat where the captors kept Moro imprisoned. The director and the splendid main actress Maya Sansa succeed to re-create the political conditioning and the motivations that brought the young woman to join the terrorist fighting path, but also the human dimension that brings her back the feelings of compassion to the victim. It is Aldo Moro's portrait played by Roberto Herlitzka which seems surprinsigly more sketchy, and I had the feeling that a greater message about the relationship between kidnapper and victim was missed.

      It is still an interesting movie to watch, minor in style but human, dealing from a different perspective with a theme that too often generated films that were spectacular, but deprived of any true emotion. 8 out of 10 on my personal scale.
      8gradyharp

      A Remarkable Depiction of a Perplexing Coups

      Marco Bellocchio takes a lot of chances in his films, examining human behavior in the face of dissension whether political, moral, or emotional. In 'Buongiorno, notte' ('Good Morning, Night') he studies the infamous 1978 kidnapping of Aldo Moro in what would be a situation that would raise as many questions as it gave answers - and it is that quality that Bellocchio has captured in his film.

      The facts of the Italian political current in 1978 may not be understood by the general viewer, but suffice it to say that the ruling political party Democrazia Cristiana was challenged by the Red Brigade, the underground terrorists who kidnapped and killed President Aldo Moro in a coups that was eventually destroyed by the reigning powers. That much of a plot is all that is necessary to know. The bulk of the film revolves around the lives of the kidnappers, especially the sole woman Chiara (Maya Sansa) who with her compatriots hid the President in a tiny room with the threat of death, but also were influenced by the writings and conversations with Moro. The whole question of revolution is under close inspection. The story mixes documentary shots with the cinematography in a tasteful way of showing us the elements of the kidnapping and the aftermath. It is the reaction of Chiara to these events and the questioning that can disrupt the political leanings of revolutionaries that makes this story so very meaningful.

      The cast is superb: Maya Sansa, Pier Giorgio Bellocchio, Giovanni Calcagno, Luigi Lo Cascio and Paolo Briguglia as the kidnappers, and Roberto Herlitzka as Aldo Moro are convincing and human. The script does have holes in it where formation of ideas and acts and incidents are vague, but it almost seems as though that is the intention of Bellocchio. In political upheaval nothing is black and white if the events are related through individual's eyes rather that through the reaction of the mobs. And this is what makes the film so fine, if a bit hard to follow.
      10runamokprods

      Haunting, quietly powerful re-imagining of true events

      The true story of the kidnap of Italian political leader Aldo Moro by the Red Brigades in 1978 is turned into a haunting, disturbing tone poem of s film.

      Eschewing realism, or the obvious tense, linear approach, this focuses on the experience through the eyes of one the young kidnappers, and her ever growing doubts about the righteousness of the mission. But rather than express this literally, we see it emerge in dream sequences, and behind her eyes.

      Beautifully shot, with a terrific use of classical and modern music (Pink Floyd shows up more than once) this quiet nightmare of a film is far more effecting and thought provoking than most political dramas. It does not miss the irony that Aldo was a humanist who was actually inviting the communist party to be part of the government.

      A great cautionary truth based fable about the danger of giving yourself completely and unquestioningly to any ideology, left or right, religious or secular.
      9davidgautier

      a fiction to look back !

      Based on a novel, the film describes the situation of Aldo Moro during his captivity. There is more than a meticulous realistic point of view given in this film : it tries to figure thoughts and attitudes of the kidnappers, members of brigate rosse. It explores the contradictions of hidden activists who are desperately trying to justify violent actions by the salvation of proletariat and rise of a social justice. They are seen in their loneliness, especially on the affective, emotional side. The psycho-rigidity of their mind is patent, not only in the sententious talks to their prisoner, in a certain desperate naivety to seek echos of their action in public opinion throughout medias, but also in the way they rule relationships. It's not politically that Moro's character strongly opposes to his kidnappers' characters, but rather in the way he's emotionnaly tied to his family (although being a prisonner, he can write letters), while the others seem alienated facing their own families (Mariano pretends to have cut any link to his son, Chiara tries to avoid familial phone calls and meetings, another member is mad about being away of his girl and suffers to be away from her mind and point of view when he sees her). Together, those members don't look like a family of a new kind. Maybe is it the main limit of Bellochio's movie, not to explore the way such an internal and autistic logical builds inside radical groups. But the movie spots a clearly defined place and time, focusing exclusively on elements linked to Moro's detention in a casual apartment (the gunfight of the kidnapping and then the death of the prisonner are seen indirectly throughout television). The strength of the movie is to develop a symbolic aspect with the character of Chiara's colleague (of her cover work) who defends imagination against the brutality of autocratic arbitrary. Almost fantastically, this character seems to guess Chiara's situation, writing a fiction about the events (like the movie we're effectively seeing as spectators) and modifying her feelings : when she realizes how any execution is horrible and unfair (reminding executions of italian partisani of WWII), it's too late and there is no other escape than in her own imagination (dream-like scene that the film also shows us). I believe it's a good and clever way to introduce us into such a historical event (maybe still wounding italian society), imagination. I also like the aspects and details of the movie that describe the importance of christianity in the conscience of the italians (even marxists ones, subconsciously) and critizises the sacrificial consensus into a falsely ineluctable execution but real murder.
      hermione47

      Just to clarify

      I've read the other comments on this board and I would like to precise that Aldo Moro at the time was not the Italian President and that obviously the Red Brigades were out for his blood because he was working skilfully at a compromise between the Christian Democrats and the Communists and that meant for the extremists of the left to be cut out from any kind of power or hold they might have on the Government. The film itself does not seek to give political answers and is much more concerned with the human aspects of the drama. It's more lyrical than realistic... if you're looking for action or for a docudrama, you should probably go elsewhere.

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      Argumento

      Editar

      ¿Sabías que…?

      Editar
      • Trivia
        Marco Bellocchio had already directed a documentary about the Red Brigades and the kidnapping of Aldo Moro: Sogni infranti (1995).
      • Errores
        Near the end, when Aldo Moro walks away in the deserted street, you can see a multicolored Peace flag in the background. Those flags would decorate Italian streets only in 2003, to oppose the invasion of Iraq.
      • Conexiones
        Edited from Paisà (1946)
      • Bandas sonoras
        Marcia trionfale
        (from "Aida")

        Composed by Giuseppe Verdi

        Performed by Orchestra e Coro del Teatro dell'Opera di Roma

        Conducted by Georg Solti

        Decca Records, 1962

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      Preguntas Frecuentes17

      • How long is Good Morning, Night?Con tecnología de Alexa

      Detalles

      Editar
      • Fecha de lanzamiento
        • 5 de septiembre de 2003 (Italia)
      • País de origen
        • Italia
      • Idioma
        • Italiano
      • También se conoce como
        • Good Morning, Night
      • Productoras
        • Filmalbatros
        • Rai Cinema
        • Sky
      • Ver más créditos de la compañía en IMDbPro

      Taquilla

      Editar
      • Total en EE. UU. y Canadá
        • USD 10,093
      • Fin de semana de estreno en EE. UU. y Canadá
        • USD 2,769
        • 13 nov 2005
      • Total a nivel mundial
        • USD 4,240,918
      Ver la información detallada de la taquilla en IMDbPro

      Especificaciones técnicas

      Editar
      • Tiempo de ejecución
        1 hora 46 minutos
      • Color
        • Color
        • Black and White
      • Mezcla de sonido
        • DTS
        • Dolby Digital
        • SDDS
      • Relación de aspecto
        • 1.66 : 1

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