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I've counted 8 scenes marginally extended. Timings are approximate and refer to the MoC-edition:

#1 at 0.00:00 (hrs, mins, secs); duration 57 seconds

Eureka logo, Dino de Laurentis production credits and a montage sequence just before the pan down the Pirelli-building begins.

#2 at 1.13:00; approximately 20 seconds

Moreau at the telephone. When she hangs up, the camera stays on her 20 seconds longer on the MoC edition.

#3 at 1.16:40; approx 9 seconds

Mastroianni with Vittis father. The two men leave but the camera stays with Vitti and some other characters for further 9 seconds on the MoC release. Some lines of dialogue are delivered.

#4 at 1.19:50; approx 5 seconds

Moreau is sitting at a table talking with Mastroianni (standing). He leaves the frame but she's in the frame 5 seconds longer on the MoC before there's a cut.

#5 at 1.33:14; approx 8 seconds

When Vitti says "Yes. Everything" the scene continues for 8 seconds until the servant enters with candlelights.

#6 at 1.49:08; approx 8 seconds

After Moreau says "Isn't that true?" we see Mastroianni in the frame approx 8 seconds longer on the MoC-edition.

#7 at 1.56:18; approx 3 seconds(?)

Just before the end - immediatly before the last pan - a few seconds seems to be cut.

#8 at the end; a few seonds

The end title is different on the two editions - a bit longer on the MoC-release.

I like the extended scenes; very Antonioniesque. Like #2 when Moreau hangs up, and she's held in the frame for a painstakingly long time afterwards.

These scenes add up to just under two minutes. There's no doubt therefore that the Fox Lorber is from a PAL master.

domino harvey wrote:Thirded, Vitti's cameo is about the only reason to even watch this

Is "thirded" a clue that this is an example of Domino's trademark wit, or is this an actual held belief?

Me love everything about LA NOTTE. It's the most open and accessible of Antonioni's films, and everyone -- Mastroianni, Moreau, Vitti, Wicki -- is perfect in it. If there have to be lesser Antonioni movies, God, let them be like LA NOTTE. I eagerly await my MoC disc (it's en route).

I agree, and the rest of you are out of your mind. To derange La Notte, a truer work of art than most, its placid lake quality, into director's reoccurring themes or performances or best scenes, as if Antonio had a specific agenda in mind and then fell flat. This film especially is more than the sum of its parts.

I for one just said it was his least great post-L'Avventura film, leaving aside most of the post-1980 work. I enjoy it very much and think it is "great", but of the "trilogy" it is clearly the weakest and least original.

Syd Field on why LA NOTTE is a remarkable film.

It's certainly better than Contempt.

Barmy wrote:It's certainly better than Contempt.

Well Godard did say CONTEMPT was his Antonioni film!...

Barmy wrote:It's certainly better than Contempt.

Aha! So he is trolling!

Although I agree it is the least of the Antonioni's I have seen. Then again, my favorite Antonioni is Zabriskie Point so take that as you will.

martin wrote:I've counted 8 scenes marginally extended. Timings are approximate and refer to the MoC-edition.

Many thanks for the info!

Cold Bishop wrote:Then again, my favorite Antonioni is Zabriskie Point so take that as you will.

Zabris-- gah-- puff--

(That's me being speechless.)

I do think it's funny that there are so many people posting on these threads who seem to have hated 94% of the movies they've ever seen. Antonioni: shite! Bergman: shite! Kurosawa: shite! Scorsese: shite (though Cape Fear had a few tolerable moments). If cinema is a constant disappointment, why make a hobby of watching and discussing films?

I can usually find something to admire and enjoy even in a movie that doesn't work for me on the whole. (That describes my reaction to a lot of Antonioni, actually.) I reserve my hatred for the Kevin Smiths of the world: people who have magically ascended to relevance despite a total lack of imagination and a failure to achieve minimal competence at any of the dozens of things that make up filmmaking.

Interesting nugget re. sales of Eureka/MoC's LA NOTTE from Mr Bongo Films website (referring to their new release of L'AVVENTURA)...

Another of Antonioni’s films ‘La Notte’ has had amazing DVD sales for Eureka sparking immense interest in this legendary director.

Good to hear - well done Nick et al!...

I've added some screencaptures to describe or illustrate the extended scenes in my previous post (c. 10 posts up in this thread).

BradStevens wrote:Just received the following e-mail from my friend Trevor Willsmer (ex editor of MOVIE COLLECTOR):

I saw two punters looking over the La Notte DVD in HMV who not only spotted your name but recognised it, though I think they may be disappointed with their purchase. Extracts from their conversation:

"Yeah, he's that one who writes in horror mags. He's well anal about Italian horrorflicks."
"'S not an Italian horror film is it?"
"Yeah, is. Look, he's strangling her on the cover. And it says it's uncut and everything."

Expect a fan letter from them in the near future.

The reason behind the sweet smell of MoC's marketing success with La Notte?

My Man Godfrey wrote:

Cold Bishop wrote:Then again, my favorite Antonioni is Zabriskie Point so take that as you will.

I reserve my hatred for the Kevin Smiths of the world: people who have magically ascended to relevance despite a total lack of imagination and a failure to achieve minimal competence at any of the dozens of things that make up filmmaking.

For the past 10 years I have had this thought rolling around in my head and I just could not put it into words. THANK YOU!

I feel like such an MoC fanboy at the moment. I watched La Notte last night. Antonioni was such a poet. I think it was probably the first 1.66 anamoraphic dvd I've seen, at least since I became aware of the shape of 1.66, and how different it loks on 4:3 letterboxed and 16:9 pillarboxed-anamorphic. I got stung a few times recently. A few SD's to avoid:

The Optimum Releasing UK Spirit of the Beehive
The MGM Sweet Smell of Success.

Its a real slap in the face to Criterion, who for years have been releasing 4:3 dvds that picturebox with anamorphically making up for it on HDTVs.

I went and borrowed the Swedish edition of La notte released by Atlantic Film at my local library and was surprised to see the Eureka/Masters of Cinema logo come up when starting the film. That was a first for me. Has anyone experienced that with some other film not released by Eureka/MoC themselves?

Flanell wrote:Has anyone experienced that with some other film not released by Eureka/MoC themselves?

The Australian release of Shoah by Umbrella Entertainment has the MoC logo on the disc menu and the Eureka MoC pre-roll. It even includes the 'Friendly Notice' after the film which starts "For sale in the UK and Ireland only."

Initially I thought they had just copied the UK discs directly, but there is also an Umbrella opening sequence so the discs must have been re-authored. Most likely they licensed the content from Eureka.

The Metropolis screening at the Warwick student cinema the other week had the Eureka!/MoC stuff at the start of the film so the branding for that was on the UK digital "print".

Blu Ray 1080P upgrade for April 2013 - superb news! Well done MoC!!...

If I remember rightly, the DVD sold surprisingly well, so it's not a huge surprise. Great news, though.

So the new BD is going to have extra scenes that were previously cut? A world first?

manicsounds wrote:So the new BD is going to have extra scenes that were previously cut? A world first?

Where have they said that? Their Twitter claimed 'This release will include the same features/56-page-booklet as our previous DVD edition from a few years ago'.

neilist wrote:

manicsounds wrote:So the new BD is going to have extra scenes that were previously cut? A world first?

Where have they said that? Their Twitter claimed 'This release will include the same features/56-page-booklet as our previous DVD edition from a few years ago'.

On their FB page:

LA NOTTE [THE NIGHT]
One of the masterworks of 1960s art cinema and one of the very finest by Italian maestro Michelangelo Antonioni, starring Marcello Mastroianni and Jeanne Moreau – upgraded in a brand new 1080p presentation in the film's original 1.66:1 aspect ratio and with previously censored sequences restored for the first time. Released in a Blu-ray edition; worldwide Blu-ray première.

Those scenes were on the MoC DVD... What has changed, apart from the release format, is the cover, which now adapts the original US release artwork, an image on the golf course the morning after... In reality the exclusive modernist clubhouse was the setting that MA used for the all night party in the film...

Wasn't there talk of a Criterion BD being delayed because of problems with the elements? Seems like those problems have been solved.