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La sera della prima

Titolo originale: Opening Night
  • 1977
  • PG-13
  • 2h 24min
VALUTAZIONE IMDb
7,8/10
13.419
LA TUA VALUTAZIONE
La sera della prima (1977)
A renowned actress teeters on the edge of a breakdown as she counts down the days toward a big Broadway opening.
Riproduci trailer4: 45
1 video
60 foto
Psychological DramaDrama

Una famosa attrice vacilla sull'orlo di un esaurimento nervoso mentre conta alla rovescia i giorni in vista di una grande apertura a Broadway.Una famosa attrice vacilla sull'orlo di un esaurimento nervoso mentre conta alla rovescia i giorni in vista di una grande apertura a Broadway.Una famosa attrice vacilla sull'orlo di un esaurimento nervoso mentre conta alla rovescia i giorni in vista di una grande apertura a Broadway.

  • Regia
    • John Cassavetes
  • Sceneggiatura
    • John Cassavetes
  • Star
    • Gena Rowlands
    • John Cassavetes
    • Ben Gazzara
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,8/10
    13.419
    LA TUA VALUTAZIONE
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • John Cassavetes
    • Star
      • Gena Rowlands
      • John Cassavetes
      • Ben Gazzara
    • 52Recensioni degli utenti
    • 43Recensioni della critica
    • 69Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 vittorie e 3 candidature totali

    Video1

    Official Trailer
    Trailer 4:45
    Official Trailer

    Foto60

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    + 52
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    Interpreti principali38

    Modifica
    Gena Rowlands
    Gena Rowlands
    • Myrtle Gordon
    John Cassavetes
    John Cassavetes
    • Maurice Aarons
    Ben Gazzara
    Ben Gazzara
    • Manny Victor
    Joan Blondell
    Joan Blondell
    • Sarah Goode
    Paul Stewart
    Paul Stewart
    • David Samuels
    Zohra Lampert
    Zohra Lampert
    • Dorothy Victor
    Laura Johnson
    Laura Johnson
    • Nancy Stein
    John Tuell
    John Tuell
    • Gus Simmons
    Ray Powers
    • Jimmy
    John Finnegan
    John Finnegan
    • Bobby
    Louise Lewis
    Louise Lewis
    • Kelly
    • (as Louise Fitch)
    Fred Draper
    Fred Draper
    • Leo
    Katherine Cassavetes
    • Vivian
    Lady Rowlands
    • Melva Drake
    Carol Warren
    • Carla
    Briana Carver
    • Lena
    Angelo Grisanti
    • Charlie Spikes
    Meade Roberts
    • Eddie Stein
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • John Cassavetes
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti52

    7,813.4K
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    Recensioni in evidenza

    Pokerface11

    Debunking the Myth of Improvisation

    Opening Night is my favorite Cassavetes, and I feel it is my duty to debunk the notion that those or any of his films aside from Shadows was strictly improvised. In fact, his films were tightly scripted after actor improvisation was used to contribute to his ideas. The coherence of a film like Opening Night, the development of the themes of aging, vanity, and hope, could not just spring from the improvisational head of even the very fine actors in the movie. If you pay attention to the dialogue (outside of the lines in the play), it is obvious that much care was taken to craft them (e.g., the scene where Myrtle explains to the playwright what problems she is having with the character and script).
    10foutiroir

    this is a bliss

    Let's go straight to the point: this is The Movie I would take with me on a desert island (with dvd player). It's just perfect. If a reason for you to see a movie is that you love the actors, you like to see them free to involve in the space and feelings, this movie is for you. See the scene when Myrtle (Rowlands) come on stage drunk and Maurice(Cassavetes) has to improvise because she doesn't follow the script anymore. If you're sensitive to the camera's movements, you'll be fascinated by the way the camera moves on stage, the particular flow, that give you the impression camera follow the actors as if it was lead by the theatrical principle of "private space"... amazing. And the story is just a brilliant mix of tale and realistic drama. Cassavetes is again arguing with Hollywood and the majors' politics, but this time, he do it through Broadway, making one of the most exciting movie about theater. Well, this movie is a bliss.
    10desperateliving

    10/10

    It was once suggested by Pauline Kael, never a fan, that Cassavetes thought not like a director, but like an actor. What Kael meant was his supposed lack of sophistication as a filmmaker; to take that comparison further, to me, it never feels like Cassavetes is directing himself in a film, it feels like Cassavetes implanting himself inside his own creation, like Orson Welles. Cassavetes is just as much of a genius as Welles, but far more important as a true artist (as opposed to a technician or rhetorician). This is like a cross between Italian passion (though Cassavetes was actually Greek) and Scandinavian introversion. Never before have inner demons been so exposed physically.

    It's about the mystery of becoming, performing, and acting. Like a haunted Skip James record, it's got the echoes of ghosts all around. Rowlands' breakdowns, which are stupefying and almost operatic, surprising coming from Cassavetes, are accompanied by a jumpy, unsettling piano. Who is this dead girl? The metaphysical possibilities are endless, and it's amazing to find this kind of thing in a Cassavetes film, just the overt display of intelligence (there is also a brief bit of voice-over at the beginning). But then, he always was intelligent, he just never flapped it around for easy praise. This is not "Adaptation"; here, the blending of reality and fiction and drama is not to show cleverness but to show the inner turmoil and confusion it creates.

    There's so much going on. The pure, joyous love when Rowlands greets her doorman; the horror when she beats herself up... The scene where the girl talks about how she devoted her life to art and to music is one of the most effective demonstrations of understanding what it means to be a fan of someone. You can see some roots of this in "A Star Is Born," and Almodovar borrowed from it for "All About My Mother." I think the ending is a little bit of a disappointment because of the laughing fits, but the preparation leading up to it is almost sickening. (You can shoot me, but I think the alcoholism, despite its urgency in many of the scenes, is a relatively small point about the film.)

    It's a living, breathing thing, and it feels like a process: it could go any direction at any time. Like "Taste of Cherry," we are reminded that "you must never forget this is only a play." Yet it is dangerous: when Rowlands says that line, is it great drama? How will the audience take it? Is she being reflexive or does she just not care? Her (character's) breakdowns are incorporated into the performances, and ultimately the film, in such a way that it's like witnessing a female James Dean. 10/10
    7sdave7596

    A flawed film, but Rowlands is the reason to watch

    "Opening Night" released in 1977, tries to be an ambitious production. It succeeds only in the truly stunning performance of Gena Rowlands. Her character of theatre actress Myrtle is not necessarily someone we would love in real life. She is self-absorbed, often obnoxious, and makes life miserable for those around her - in other words, not unlike some actresses! Myrtle is also a woman on the edge of collapse - we are not quite sure if the demons she is fighting are real or imagined, although we are let in on the secret early. Rowlands is obviously well directed with love by her gifted husband, actor/director John Cassavettes, who has a role in the film as well. This film is not without flaws - it is overly long, and the last part of the film where Myrtle goes on stage while very drunk seems almost cruel. The "improvising" in some of the dialogue - at least while on stage - goes on way too long. Some of the supporting characters give good performances, especially from Ben Gazarra, playing Myrtle's sleazy producer. Joan Blondell's character is never fully developed, and I never could figure out why she was in the film, except to placate Myrtle. See this film for Rowlands alone - she is fascinating throughout - and it is tough to take your eyes off her, although you will want to at times.
    8sol-

    My brief review of the film

    Full of interesting ideas and really rather chilling at times, this account of a mental breakdown is fascinating to watch, with Gena Rowlands a glorious choice for the lead. It is in the way that Rowlands is able to carry emotion on her face that makes her performance so stunning, and along with some well used music and effective close-up photography, it is an intriguing piece of cinema, even if awkwardly very melodramatic at times and a tad hard to digest. The on and off-stage action in the protagonist's life is mixed together, and it is sort of muddled in this sense, though perhaps only as muddled as her mind is. The film poses such interesting questions about how much one should or does care, it portrays mental illness, and, it also has some insight into theatre production. It is very good stuff and only really brought down by being fatally overlong, with the content stretched to its limits.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      In a 1978 television interview, Cassavetes said this was the best film he had anything to do with.
    • Blooper
      A bus rolls by the New Haven theater with an ad for KBIG FM 104, a Los Angeles station.
    • Citazioni

      Maurice Aarons: I thought that small talk was too small, I thought big talk was too pretentious, I thought music was noise, and I thought art was bullshit.

    • Connessioni
      Featured in Siskel & Ebert & the Movies: Other People's Money/Ernest Scared Stupid/City of Hope/Life Is Sweet (1991)

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    Domande frequenti19

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    Dettagli

    Modifica
    • Data di uscita
      • 2 febbraio 1979 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Noche de estreno
    • Luoghi delle riprese
      • Los Angeles, California, Stati Uniti
    • Azienda produttrice
      • Faces Distribution
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 23.488 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 10.491 USD
      • 19 mag 1991
    • Lordo in tutto il mondo
      • 32.191 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      2 ore 24 minuti
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.85 : 1

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