[go: up one dir, main page]

    Calendrier de sortiesLes 250 meilleurs filmsLes films les plus populairesRechercher des films par genreMeilleur box officeHoraires et billetsActualités du cinémaPleins feux sur le cinéma indien
    Ce qui est diffusé à la télévision et en streamingLes 250 meilleures sériesÉmissions de télévision les plus populairesParcourir les séries TV par genreActualités télévisées
    Que regarderLes dernières bandes-annoncesProgrammes IMDb OriginalChoix d’IMDbCoup de projecteur sur IMDbGuide de divertissement pour la famillePodcasts IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestivalsTous les événements
    Né aujourd'huiLes célébrités les plus populairesActualités des célébrités
    Centre d'aideZone des contributeursSondages
Pour les professionnels de l'industrie
  • Langue
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Liste de favoris
Se connecter
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Utiliser l'appli
  • Distribution et équipe technique
  • Avis des utilisateurs
  • Anecdotes
  • FAQ
IMDbPro

Buongiorno, notte

  • 2003
  • 1h 46min
NOTE IMDb
7,1/10
4,2 k
MA NOTE
Buongiorno, notte (2003)
Drame

Ajouter une intrigue dans votre langueThe 1978 kidnapping of politician Aldo Moro as seen from the perspective of one of his assailants: a conflicted young woman in the ranks of the Red Brigade.The 1978 kidnapping of politician Aldo Moro as seen from the perspective of one of his assailants: a conflicted young woman in the ranks of the Red Brigade.The 1978 kidnapping of politician Aldo Moro as seen from the perspective of one of his assailants: a conflicted young woman in the ranks of the Red Brigade.

  • Réalisation
    • Marco Bellocchio
  • Scénario
    • Anna Laura Braghetti
    • Paola Tavella
    • Marco Bellocchio
  • Casting principal
    • Maya Sansa
    • Luigi Lo Cascio
    • Roberto Herlitzka
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    4,2 k
    MA NOTE
    • Réalisation
      • Marco Bellocchio
    • Scénario
      • Anna Laura Braghetti
      • Paola Tavella
      • Marco Bellocchio
    • Casting principal
      • Maya Sansa
      • Luigi Lo Cascio
      • Roberto Herlitzka
    • 23avis d'utilisateurs
    • 57avis des critiques
    • 69Métascore
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 13 victoires et 21 nominations au total

    Photos15

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    + 9
    Voir l'affiche

    Rôles principaux33

    Modifier
    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
      • Réalisation
        • Marco Bellocchio
      • Scénario
        • Anna Laura Braghetti
        • Paola Tavella
        • Marco Bellocchio
      • Toute la distribution et toute l’équipe technique
      • Production, box office et plus encore chez IMDbPro

      Avis des utilisateurs23

      7,14.2K
      1
      2
      3
      4
      5
      6
      7
      8
      9
      10

      Avis à la une

      6noralee

      Intriguing Effort to Understand Terrorists

      "Good Morning, Night (Buongiorno, notte)" is an intriguing effort to understand terrorists.

      Loosely based on a novel, writer/director Marco Bellocchio specifically re-imagines the kidnapping of Italian party leader Aldo Moro in 1987, with heavy use of television clips. The quaintly naive Cold War rhetoric, emphasized with odd historic black and white newsreel interstices such as of Stalinist parades, may now be seen as an examination of a symbolic precursor for today's gruesome politics, though he was already working on the film at 9/11.

      The young idealists we are first introduced to seem as harmless as the radical pranksters in the contemporary "The Edukators (Die Fetten Jahre sind vorbei)." While it's a jolt to gradually learn their connection to the violent attack, first revealed as they cheer at the initial TV coverage, they seem so bumbling and nervous (one takes leave abruptly for, as it were, a conjugal visit as he feels he's the one being imprisoned; another gets fixated on an overly symbolic pet caged bird), it's never clear if they personally committed murder or if they're just the guardian cell taking orders from those who stage the mock trial and pull the triggers or if that is a moral difference that is intentionally considered irrelevant.

      Real world politics do occasionally seep through in silent background commentary, through factory strikes and sarcastic graffiti, but the determined ideologues reject these actions as they see themselves as the true believers. Ironically, the drone of the TV coverage, with reports of related and unrelated violent acts around the country, they anxiously watch becomes as much a recitation as the opening pitch from the bored apartment rental agent.

      Their Red Brigade aims seem so diffuse about intending to set off revolutions and counter-revolutions, compared to the more direct motives of the terrorists in "Paradise Now" (let alone how kidnapping has devolved into a business, as in "Secuestro Express"), at least to those not intimately familiar with Italian political dialectics, that it seems more understandable than ludicrous that the negotiations draw on. A long side bar scene where one of the kidnappers joins her family in a memorial service for World War II partisans nostalgically singing an anti-Fascist anthem, inspiring her to read a collection of letters resistance fighters wrote before their executions instead of her usual Lenin or Engels reading, makes the dialectics even more ironic as to what fascist behavior is. Her internal struggle to resolve these pressures, including several confusing dream sequences, is the core of the film and Maya Sansa, with very expressive eyes, is captivating as "Chiara."

      The kidnapping itself takes on a "Ransom of Red Chief" feel as the Aldo Moro character, well-played by Roberto Herlitzka and the point of the film's dedication to the auteur's father, is much more of an eloquent, dignified, paternal humanist statesman than a typical politician. The kidnappers seem to be thwarted in provoking political crisis because he will only write personal, non-political notes to his family, particularly his grandson (even if does seem as if he's writing love notes to his mistress rather than to his wife). But his appeal to the pope and the pope's involvement in the negotiations and their aftermath seems as incongruous as an odd séance by political supporters or the kidnappers doing a blessing before eating. Compared to the director's earlier "My Mother's Smile (L'Ora di religione: Il sorriso di mia madre)," religion is only an ancillary issue.

      The auteur's voice, as an artist, seems to speak through a somewhat naive and flirtatious friend of "Chiara"s who has written a screenplay about radicals and quotes the Emily Dickinson poem that inspired the title. He argues that the imagination can be a powerful force in influencing people, though of course the authorities misinterpret his involvement.

      I saw it with a defective soundtrack, but other than odd musical commentary with bombastic selections from "Aida" and Pink Floyd, the film's strength is faces and looking into the eyes of deluded cogs in the wheel of historical forces, though the best sequence is given away in the trailer.
      9palmiro

      The Political Context: a brief summary and clarification

      I won't comment on the film's artistic merits, which I regard as noteworthy, nor on the psychological portrait given of the brigatisti, which I thought interesting but flawed. I will only say that the film was deeply moving for me and had me crying uncontrollably at times. I wish to give, instead, a sketch of the film's political context for the benefit of those whose familiarity with that period in Italian politics may be limited.

      By 1978 Italy had been ruled uninterruptedly for more than 30 years by coalition governments, all of which were dominated by the Christian-Democratic party (DC). The Italian Communist Party (PCI) had been thrown out of the government in 1947 (in part, on the insistence of Washington as a condition for Italy's receiving Marshall aid monies), and it was excluded from all governments even though its share of the popular vote rose with every post-war election, making it the second largest party in Italy (it peaked at more than a third of the vote in the late 1970s). The PCI was not your average Communist party. It espoused a route to the transformation of capitalism that emphasized gradualism, social mobilization, and electoral politics--and by the early '60s its commitment to the acceptance of the principles of democratic pluralism was public and pronounced. By the end of the '70s, Italy was sorely in need of reform--the kind of reform in institutional arrangements and socio-economic policies that could only come through a change in government.

      The 30 years of DC rule had created a regime rent through and through with corruption and unresponsive government (by contrast with the regional governments run by the PCI, which were models of efficiency and responsive government). But the US and most of the DC continued to argue that the opposition should not be allowed to come to power under any circumstances because of the "Communist menace."

      Aldo Moro, president of the DC at the time, was one of a few DC leaders receptive to the idea of bringing the PCI into the government to effect reforms and make the country more governable--responding, as he was, to the initiative of Enrico Berlinguer, leader of the PCI, who called for an "historic compromise" with the Catholic masses and their party. But at the same time that the PCI was inching towards the government, there were fractions of the left in Italy that felt that the PCI was selling out the dream of making "The Revolution". Certainly it was true that the PCI had long abandoned the notion of "Revolution in the West" as resembling anything like the storming of the Winter Palace in St. Petersburg in 1917 (note the imagery of revolutionary Russia thrown into the film by Bellocchio as representative of the consciousness of the brigatisti). But the PCI continued to be nominally wedded to the idea that capitalism was not the final resting place in the evolution of human social-economic systems, and that it could and should be replaced by a system of production based on production to satisfy human needs rather than private profit.

      The closer the PCI moved towards government and compromise with the DC, the more this commitment to a socio-economic order alternative to capitalism was put into question in the eyes of Italy's "revolutionary" left (all of which, by the way,existed outside of the PCI in other social and political organizations).

      Enter the Red Brigades (BR). Most of the their ranks were filled with leftists who came to "revolutionary" politics via Catholicism and the social gospel. They believed themselves to be heirs to the tradition of revolutionary militancy (and armed struggle)embodied in the Resistenza, the struggle against the German occupation of Italy,1943-45--a struggle which, in the minds of many of the combatants, was waged for the sake of a socio-economic order alternative to the inequalities and irrationalities of capitalism (it was mainly Bellocchio's use of clips showing the execution of "partigiani" (resistance fighters) and the reading of the letters they had written just prior to their execution which brought me to tears).

      The BR believed that through "exemplary" actions (the knee-capping or killing of politicians, journalists, and trade-unionists seen by them as enemies of the working class) they might be able to galvanize the masses of the working class, whose revolutionary militancy had, presumably, had been lulled into a quiescent state by the "sell-out" leadership of the PCI.

      The kidnapping of Moro was designed to put a stop to that process, and indeed it succeeded well. To the delight both of the "revolutionary" left and Washington the PCI was kept out of the government for almost another 20 years, until after the fall of the USSR and the complete dissolution of the DC under the weight of a gigantic scandal. One side note: Bellocchio is certainly in error in suggesting that Stalin would have been part of the fantasies of the BR--while they greatly admired Lenin for having pulled off the Bolshevik Revolution, they detested Stalin and the bureaucratized party rule that came in his wake.

      One final note: I'm not sure I understand why Bellocchio has chosen as his counter-hero a figure who suggests the use of "fantasia" as an alternative to violence. It was precisely the BR's "flight of imagination" that got them into trouble, imagining a world that didn't exist in Italy--a world of revolutionary seething masses just waiting for a spark to ignite them. In politics there's no substitute for Machiavelli's "chiaroveggenza" (the capacity to see things clearly).
      8Indyrod

      Good political docu-drama, superb soundtrack

      This is a very good docu-drama about a kidnapping and assassination of a former Prime Minister Aldo Moro of Italy in 1978 by the Red Brigades. Pretty much the whole movie takes place in the hideout where they are keeping the politician, trying to negotiate a change in government and even getting the Pope involved. One of the most amazing things about the movie to me, outside of excellent story telling, is the use of Pink Floyd music. There's not too many movies that get the right to use PF music, but this movie does with "Shine on you crazy Diamond" and "The Great Gig in the Sky". Extremely powerful music to establish tone and mood in the movie, and very effective. I thoroughly enjoyed this movie, and the DVD documentary extra is very good too. It gives a great background to the true story, and a good profile of the filmmaker.
      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.
      6jldmp1

      Alienation

      The events bookending this movie are true, but the actual story is pure speculation...thus leaving the door wide open for the storytelling.

      Communist Catholics are an oddity...the contradictions in that appellation alone are manifest. So what we have here is told somewhat in the manner of a Passion Play, cross-pollinated with a critique vs. defense of the Marx-Hegel "Holy Family"...the argument centers on the captive's immediate concern about execution, whereas the captors insist on demonstrating they are merciless.

      The problem is, all of this seems to be going on as if there's no outside world of concern...oh, we get leakage in from TV and newspapers, but no sense that Rome is under lockdown. This ends up totally alienated from the central symbolism (Mora's body having been found precisely halfway between the respective Christian Democrats' and Italian Communist Party's headquarters). We're locked behind the writing (the stacks of books, and simultaneously, Chiara within the library), then left for dead with no spatial, political or symbolic context.

      That said, there is some cleverness in the limitation placed on Chiara, who is the only one who can tell the story outside the apartment, but has a proximity barrier from the writer at the cubicle door and peephole. Upon reaching perigee, she is reduced to defiant tears. Note also how she dreams in Soviet-era propaganda films!

      Vous aimerez aussi

      Le sourire de ma mère
      7,0
      Le sourire de ma mère
      Esterno notte
      7,7
      Esterno notte
      Vincere
      6,8
      Vincere
      Marx peut attendre
      7,2
      Marx peut attendre
      Les poings dans les poches
      7,6
      Les poings dans les poches
      Le Traître
      7,1
      Le Traître
      Les cent pas
      7,5
      Les cent pas
      Le metteur en scène de mariages
      6,2
      Le metteur en scène de mariages
      Fais de beaux rêves
      6,5
      Fais de beaux rêves
      Sangue del mio sangue
      6,1
      Sangue del mio sangue
      Viol en première page
      7,4
      Viol en première page
      Golden Door
      6,8
      Golden Door

      Histoire

      Modifier

      Le saviez-vous

      Modifier
      • Anecdotes
        Was appreciated by the relatives of Aldo Moro.
      • Gaffes
        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.
      • Connexions
        Edited from Païsa (1946)
      • Bandes originales
        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

      Meilleurs choix

      Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
      Se connecter

      FAQ

      • How long is Good Morning, Night?
        Alimenté par Alexa

      Détails

      Modifier
      • Date de sortie
        • 4 février 2004 (France)
      • Pays d’origine
        • Italie
      • Langue
        • Italien
      • Aussi connu sous le nom de
        • Good Morning, Night
      • Sociétés de production
        • Filmalbatros
        • Rai Cinema
        • Sky
      • Voir plus de crédits d'entreprise sur IMDbPro

      Box-office

      Modifier
      • Montant brut aux États-Unis et au Canada
        • 10 093 $US
      • Week-end de sortie aux États-Unis et au Canada
        • 2 769 $US
        • 13 nov. 2005
      • Montant brut mondial
        • 4 240 918 $US
      Voir les infos détaillées du box-office sur IMDbPro

      Spécifications techniques

      Modifier
      • Durée
        1 heure 46 minutes
      • Couleur
        • Color
        • Black and White
      • Mixage
        • DTS
        • Dolby Digital
        • SDDS
      • Rapport de forme
        • 1.66 : 1

      Contribuer à cette page

      Suggérer une modification ou ajouter du contenu manquant
      Buongiorno, notte (2003)
      Lacune principale
      By what name was Buongiorno, notte (2003) officially released in India in English?
      Répondre
      • Voir plus de lacunes
      • En savoir plus sur la contribution
      Modifier la page

      Découvrir

      Récemment consultés

      Activez les cookies du navigateur pour utiliser cette fonctionnalité. En savoir plus
      Obtenir l'application IMDb
      Identifiez-vous pour accéder à davantage de ressourcesIdentifiez-vous pour accéder à davantage de ressources
      Suivez IMDb sur les réseaux sociaux
      Obtenir l'application IMDb
      Pour Android et iOS
      Obtenir l'application IMDb
      • Aide
      • Index du site
      • IMDbPro
      • Box Office Mojo
      • Licence de données IMDb
      • Salle de presse
      • Annonces
      • Emplois
      • Conditions d'utilisation
      • Politique de confidentialité
      • Your Ads Privacy Choices
      IMDb, une société Amazon

      © 1990-2025 by IMDb.com, Inc.