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Besides boasting wonderful performances by two of my favourite actors (Marcello Mastroianni and Harvey Keitel), Il Mondo Nuovo (as it's known in Italy) by acclaimed Italian director Ettore Scola is to me as satisfying as a good classic novel, one of those 800-page tomes you approach with a little trepidation and then remember for years to come, wishing other novels you read would compare.

It's the year 1791 and on board a stagecoach, an assortment of characters from different parts of the world are traveling from Paris to Verdun. Along the way the coach picks up the aging (his character is 67 years old in the film), legendary Venetian seducer Giacomo Casanova, as well as the controversial, fawn-like but ahead-of-his-time chronicler and novelist, Restif de la Bretonne. The stagecoach's original travelers include the American Revolution survivor Thomas Paine (Keitel), as well as a melancholic and reserved widow aching to fall in love again, a beautiful and intelligent yet devoutly Monarchist Austrian Countess, a sharp and cheeky Italian opera singer eternally clutching a pet poodle and poking fun at her dim and bigoted husband, as well as a cocky young Jacobean. The coach also includes their servants, among whom the young Countess's devoted butler and her pretty African maid, who soon hooks up with the young Jacobean. Not far ahead of them, another stagecoach carrying the fleeing French royal family - Louis XVI, Marie Antoinette and their children is also traveling along the same road, unaware this will be the route to their irrevocable death sentence.

The story is told through the dialogues and anecdotes of a group unaware of their status as main witnesses to what will turn out to be one of history's most pivotal moments. Besides the breathtakingly authentic feel of the time - you really feel like you've stepped into a Hogarth painting - what's most remarkable is how you also get the sense such historic events are happening in real time, so convincing are the reactions of bewilderment and astonishment on the character's part. A series of vignettes, made delicious by the top-class characterisation and dialogue, contribute to moving the plot along as well as giving the viewer some light relief which however never loses sight of the breathless atmosphere of those revolutionary times.

Mastroianni as the self-deprecating, tired, aging Casanova is a treat from the very first frame he graces to the last. This legendary actor has always brought a unique depth of humanity to his roles, but despite all the other fine actors and characters in this film I just couldn't have imagined it without him. I adored the moment, after having charmed all the ladies and even some of the men on the stagecoach, Casanova kisses the young Austrian Countess's besotted gay butler on the lips and as a parting shot says: "I don't exclude anything on principle."

Especially memorable are the final frames of the film, in which the young Austrian Countess and her butler, after having dressed a wooden dummy in a spartan inn room with the doomed king's ceremonial costume, bow down to it with devotion, symbolising the ephemeral and temporal nature of an earthly kingdom. Some will consider this Italo-French production overlong, others won't be fond of its un-Hollywoodlike approach to the historic genre, others will even consider some of its characters unappealing. On my part I consider these the film's strengths and cannot help but warmly recommending it. My only real complaint is: why hasn't it yet been released on DVD?

French novelist Catherine Rihoit is also an accomplished biographer and there are certainly biographical elements here. It approaches the realms of fantasy however to imagine that notorious adventurer and chronicler Giacomo Casanova, lecher/pornographer Restif le Bretonne and American revolutionary Thomas Paine would all be passengers on the same 'diligence' that is just a few hours behind the one which is carrying the French Royal Family in its desperate flight to Varennes.

This film of Ettore Scola is so splendidly realised and acted that the anomaly doesn't seem to matter and comes under the heading of 'artistic license'.

It is certainly nothing less than 'artistic' with sumptious cinematography by Armando Nannuzzi, superlative production design by Dante Ferretti and understated score by Armando Trivaioli, all of whom are masters of their craft and who have worked with some of best directors in the business.

The legendary Sergio Amidei who died before the film was released, has contributed to the screenplay and among those privileged to speak his dialogue are Marcello Mastroianni as Casanova, Jean-Louis Barrault as Restif and Hanna Schygulla as a Countess who is also a lady in waiting to Marie Antoinette. Her presence on the the same coach is therefore more plausible.

This talented trio are absolutely mesmerising. Barrault's film appearances are rare as he was primarily a stage actor and director who ran his own theatre company with his wife Madeleine Renaud. The fascinating Miss Schygulla has the distinction of having survived the making of numerous films with Fassbinder. It is the performance of Mastroianni as raddled, dissipated Casanova that lingers longest. He has reached that sublime state when he has ceased to act at all and simply 'is'. Harvey Keitel as Paine has been cast for the benefit of the North American market and is 'dubbed' as one would expect. He is a wee bit young for the role as Paine would have been in his late fifties at this time.

The post-synchronisation, always a hit-and-miss affair in Italian cinema, is generally very good.

There is a delightful scene where Casanova sings a few bars of Leporello's 'catalogue' aria from Mozart's 'Don Giovanni'. Legend has it that Casanova helped da Ponte with the libretto. Perhaps he was also 'technical advisor'!

A beautifully made film that just sustains its running time and typifies both the traditional excellence of European costume drama and its preference for character over plot. Not to mention its appeal to a more literate audience.

Although politically Ettore Scola does not appear to take sides, all that we see of Louis XV1 and Marie Antoinette are their lower legs and feet whereas there are plentiful close-ups of the downtrodden peasantry.

This director has always been fascinated by history and the part played by 'ordinary' citizens. "The flow of history lies with us" he once said.

One of the most satisfying films I've seen. A bit obtuse but very well done if you are fond of tongue in cheek humor, outstanding portrayals, great direction and cinematography.

The short version: This a whimsy that follows an aging Casanova and an eclectic group of Frenchmen as they travel through the French countryside in a coach during the time of the French Revolution. It's a comedy presented with delicacy and intellect and the cinematography is outstanding. It may or may not strike you as outstanding, as it did me, but it is so worth the time it will take to find it and see it two or three times.

I just read the first posted review and had to laugh out loud. Aw shucks yawl, if it's so bad, why are copies on VHS selling for $300 to $400? I lost my copy to a friend who borrowed many times and never returned anything. Shame on her.

If anyone knows where I can find a copy on VHS to dub, I'd be so appreciative. Thanks and do take a peek. "groovycuvee@netscape.net".

This French film is much more meaningful to French citizens (who undoubtedly are far more familiar with the history of their country's transition from monarchy to democratic republic than most non-French citizens). I rushed to Wikipedia to read about Louis XVI and his wife, Marie Antoinette, and this era as soon as I got home from seeing this film. And for those also unfamiliar with it, I recommend potential viewers also read about them and the French transition from monarchy to citizen democracy before seeing this film; I think that'll make it far more meaningful.

The scenes were great -- they captured the time and life/era exceedingly well; the actors were interesting and very appropriate. But, in my lacking an extensive enough appreciation of this era and its events, I agree totally with Roger Ebert's review (he gave it 2.5 stars of 4): http://www.rogerebert.com/reviews/la-nuit-de-varennes-1983 (2.5 of 4)

I frankly don't find much value in movie reviews, amateur or professional, so I won't belabor my points. Simply put, this is the smartest film I've ever seen. A coherent plot and intelligent dialog are critical to my movie pleasure, and this one has them. It is so good that it is almost novelistic, which is not to say that it could have been taken from a novel. Some review guide said of this movie that it is "talk, talk, talk." Exactly! The conversations are witty, charming, and often funny. Be advised that this is not akin to the insipid "My Dinner With Andre," with its metaphysical posturing. One must say this carefully about any movie, but there are actually things to learn from this film, though it is far more entertaining than didactic. The acting is mature and magnificent. I doubt that Mastroianni was ever in a better role. Jean-Louis Barrault and Hanna Schygulla are brilliant. This, along with his other excellent films, should have made director Scola one of the titans of modern cinema. Instead it has never made it to DVD and you will be fortunate to ever see it. (Update: It is now available as an all- region Blu-Ray.)

"The people have changed. The lower classes in the cities and the peasants in the country have realized they're poor. They're starting to wonder if in the hereafter, after death, the last will really come first. Faced with that doubt, they've become interested in the here and now."

In June 1791, King Louis XVI of France, along with Queen Marie Antoinette and their family surreptitiously fled Paris and traveled east, hoping to secure safety under General Bouillé's army and galvanize support to quash the impending revolution. They got as far as Varennes-en-Argonne, 250 km away and just 50 km short of the citadel of Montmédy, when they were captured and ultimately returned under confinement to Paris. The event was of enormous importance in the revolution, and of course ultimately resulted in both Louis and Marie Antoinette meeting Madame La Guillotine.

In this story another coach follows them, carrying an interesting collection of characters. There's an aging Casanova played by Marcello Mastroianni (ooh), American revolutionist Thomas Paine played by Harvey Keitel (hmm), French author Rétif played by Jean-Louis Barrault, and several fictional characters, one of whom is a lady-in-waiting to the queen (Hanna Schygulla). They hear the rumors of who is in front of them but most of the film consists of them riding along, taking occasional breaks, and talking about the changing mood in the country. It's as if they represent the country (and indeed Europe) riding towards the future, facing a momentous turn.

It's a rather odd set of people who are cobbled together, though Paine and his views on revolution and democracy serve as a counterpart to the conservatism of Casanova and the lady-in-waiting, with Rétif somewhere in between. They're perhaps not the ultra-wealthy of their day, but they are people of power and influence, and as they ride through fields being worked by the poor, they try to intuit the mood of the people, some more accurately than others. Casanova, a lover of tradition and rather lethargically stuffing his face with French delicacies, decries the old days when people were respectful of their "betters," whereas Paine speaks earnestly about the idiocy of hereditary rule, where "a lion may be followed by an ass." It held my interest but oftentimes the conversations seemed forced, and it was unfortunate that Keitel had to be dubbed.

The film is also hampered by its slow pace and padded runtime, with moments that weren't all that compelling, e.g. Rétif and Casanova stopping to have a pee, or a tangential interracial romance. It is at least partially successfully in immersing the viewer into the period by letting us see the more mundane aspects of transportation among other things, but it's a little bit dragged down by it as well, and not resurrected by the inclusion of the shocking behavior of the libertines (e.g. Rétif's sex with a girl he discovers to be his daughter). I also thought that Mastroianni was too muted, and imagined an older Casanova still having a bit of spark about him even his days of physical passion were no longer. Regardless, the film dragged for me, and would have been better an hour shorter - a briefer sketch - and with a more realistic set of traveling companions.

What a lovely ending it had though, with the quote from Rétif and him stepping up into the streets of 1992, a couple of centuries later, and warning how history tends to repeat itself. Indeed.

We really enjoyed this. Barrault and Mastroianni are terrific actors--did an outstanding job. The philosophical questions raised are still worth considering today, as the movie implies, and yet they are raised in an interesting and indirect way, so the viewer doesn't feel bludgeoned or lectured at.

I was interested to discover that the flight to Varennes was in fact historical, though I could not discover whether Restif de Bretonnes (Barrault's character) was actually at the event and commented on first-hand knowledge. He did write extensively about life and events of the time. The interchange of ideas seemed natural, despite the apparent absurdity of finding all of them in the same coach at the same time. Sort of like those "if you could invite 5 historical figures to dinner at the same time" ideas.

Very much worth seeing.

Seemed more like a way to work in as many glib facts about revolutionary France into one movie as possible. Overlong. Most of the puns in the dialogue were neither humorous, linguistically interesting, or even original. Character development is rather pathetic, and I could not care less about anyone in the film.

The Revolution may have been prevented had the French in 1789 known of this future pile of cinematic dreck that was to be made. Possibly the only good thing about this movie was having the opportunity to disparage it so in this comment; but, even this opportunity does not erase the horrible stain of this film on my previous opinion of French cinema as being halfway decent. Avoid.

Few people have probably heard of this French film. Yet, it is a masterpiece. Some great actors brought this story of classical art cinema alive. The historical moment depicted is the period just after the French Revolution. Louis XVI and Marie Antoinette are making a final attempt to escape - they flee from Paris. Historical characters (Casanova, Restif de la Bretonne) and imagined characters are all joined by a trip in a stagecoach. This is an opportunity for us to discover different mentalities of the 18th century. Each character sees the French Revolution differently, but the viewer can sense its uselessness, the suffering it brought by tearing a whole world apart.

I am not a fan of French movies, especially since I watched Queen Margot. This movie did nothing to change my view. I don't like the way it is scripted, edited, and the unreveling of plot. Nevertheless, this does not mean my opinion on the movie is low. Movie is actually quite good. Only big complaint that I have about it is those little historical episodes, which are quite unnerving. Certain knowledge of French history is prerequisite for watching the movie and no one minute stories are going to help people get better outlook on it.

Actor portraying Restif was annoying (I really can't remember his name). Marchello Mastroiani, needless to say, was remarkable.

Characters in the movie are by most part quite commical, especially Restif and M Jacob. Comtesse is annoying and her sluttiness becomes such an obstacle to enjoying the movie most of the time.

In general, this is a good movie, just that I didn't like it. I give it seven out of ten.

After having been annoyed by the candy cane music video of Coppola's "Marie Antoinette," I went in search of this film again. I had remembered liking "La Nuit de Varennes" when it came out, but 25 years later it looks much, much better.

A hostile person once defined French film as people saying wounding things to each other for an hour and a half, then somebody dies of cancer or a gunshot. This film redeems the stereotype, as people say wounding things to each other for over two hours and nobody dies (on camera, anyway).

Imagine "Stagecoach" with politics instead of Catholic redemption, then add a solid, witty script and great acting. Veterans Barrault and Mastroianni give canny, memorable performances and everybody else is just fine.

If your model for the movies is the roller-coaster or the video game, you will scream in agony. If you would prefer not to be insulted, this film will be balm for the soul.

Since the powers that be have decreed that this film shall fall between the cracks, it's worth a little research to find it on DVD. Google "That Night in Varennes" and check the first dozen results. It's the best we can do until the delinquent owners of the film come to their senses.

A wonderful, literate film for adults which plays with history, and the idea of power and its trappings. It imagines what would happen if contemporary celebrities at the time of The French Revolution found themselves together in a coach following the fugitive king. In fact, it's a road movie, but unlike any other one you've seen. Witty dialogue, great performances and top-notch production values make this a classic--one of those movies that you can't see could be improved, because everything is so right. If you enjoyed 'Ridicule', you'll enjoy this. I can't recommend it highly enough, and I only wish I could find a copy on DVD.

One of the most notable reviewers on this site condemned "La nuit de Varennes" to 2,5 stars (out of 4), but I am of the opinion that this movie should be appreciated better : there are not so many cinematic works in our times that are carried by such valuable concept,i.e. that preach and teach dignity and tolerance opposed to a laudable but often misguiding need to serve some higher principle. "Idiocy is the worst of treasons. - And no revolution will ever stop it." In Scola's historical comedy of manners, thoughts and emotions, Barrault's Restif is the key figure which spans a bridge between humble vox populi of Thomas Paine and aristocratic grandeur of Casanova. Watching this movie I felt like the spirit of wiser old Europe (which is still there, thanks to Scola a.o.) entered the body of Robert Altman's shape. French blu-ray with English subtitles is to be treasured.

Brilliantly conceived by longtime collaborators of Vittorio de Sica, cast with leading players for Marcel Carne, Federico Fellini and Martin Scorsese, this literally glowing film is a "restive" update of the era of Beaumarchais and the setting of his "Figaro," which directly inspired Renoir in Rules of the Game. Barrault and Mastroianni, with Keitel, discuss not only the events they observe (as has been mentioned) they discuss the unsettled and unsettling progress of liberty and liberation as figures of enormous note, themselves, to liberation literature and ancien regime manners, projecting sensibilities as actors we had admired in them for as much as 40 years. An authority of temperament in these players to portray their characters, including also Hanna Schygulla and those in superbly characterised parts like Pierre Malet's student, is so redundantly embedded in the scenario and production, under Scola's direction, that it is not only tempting but necessary to welcome this film as the descendant also of Les Enfants du Paradis. Imagine a coachful of radicals and fugitive aristocrats, almost as endangered (and sometimes, reciprocating) as Ford's odd lot in "Stagecoach," in an accidental salon furnishing a literal tour d'horison, externally, of the upheavals of revolution they discuss with the animation of their own convictions and reservations, within. From the moment the coach all but collides with Casanova's in an opening scene, this film concentrates in the mind two apprehensions of finality on parallel tracks, while two naive regimes careen together into history in the same reel -- the "age of conversation" of the Enlightenment in France, and the age of humanism in western European cinema. As a testamentary work it should be viewed with "Le Petit Theatre de Jean Renoir" and "Akira Kurosawa's Dreams," yet without the concordance of footnotes which younger viewers might need for these films. "La Nuit" wears its authority visibly and openly collegially, but very much to the same radiant effect.

great performances. a slice of history. gems-scenes. the bitter atmosphere of a fall of an world. a film for memories. with slices of beautiful dialogue and a splendid Mastroianni, the testimonies and voices and words of a night. the tension and the royal couple. and the smoke of a room, drinks and small portraits. short, a film who preserves, in your memory, for long time, its delicate flavor. and it is enough.

A fantastic film with magnificent cerebral talks and actors, costumes, and backgrounds that allow you to journey across time. It's like seeing through a window into the madness of the French Revolution, when people pondered the past, present, and future. If you're seeking for a historically accurate film, this is a must-see.

History is not everybody's cup of tea as most people consider it as a boring subject wherein one is forced to remember various dates and exploits of political parties and royal families. However,there are ways to make history appear more approachable. Italian director Ettore Scola has been able to get a lot of success in this domain by directing 'La Nuit De Varennes' which is not only historical but also an important road movie.It can easily be christened 'a historical road movie'. By blending facts and fiction director Ettore Scola has created a powerful film about the significance of the French revolution with a major focus on the escape of French royal family from Paris until Varennes.There are no dull moments in this film which clocks roughly 150 minutes as the presence of legendary figures Casanova and Restif De La Bretonne in a stagecoach is enough to kindle audiences' interest.The audiences learn that till the last minute there was immense amount of sympathy for the monarchy. Scola shows that there were people who would support the king at all times.The film is not a real history lesson but loses no time in establishing that French king's supporters had failed to realize that the king had completely lost poor people's sympathies.

I have just seen Sofia Coppola's Marie Antoinette and it was such fairy floss that it made me want to see La Nuit de Varennes again. Unfortunately it doesn't seem to be available on DVD, only VHS and Amazon UK are out of stock.

Anyone know when if and when it might be available on DVD? Re: my comment about Marie Antoinette: it's a well made film with a look inside Versailles and apparently the depiction of the protocol is spot on but there's no context. This wasn't meant to be a review of Marie Antoinette but apparently I have to write 10 lines or my comment won't be accepted.

While Louis XVI is fleeing Paris, a stagecoach travels the same route. The passengers discuss philosophy and politics, they meet Casanova on his way to Germany, they arrive in Varennes to witness the arrest of the King. It is an interesting movie, sometimes pretentious, sometimes brilliant. The cast is excellent and makes up for its shortcomings.

Set during the fateful night Louis XVI almost escaped, this movie lets us observe the agony of an entire social structure through the eyes of famous libertines, proto-vandean nobles and common people. It's Italian cinema at its best: melancholic, comic and tragic at the same time.

It requires some patience but imho it really pays off.