Valerio Zurlini
La Prima Notte di Quiete

Daniele Dominici (Alain Delon), a nearly forty-year-old teacher, kind, melancholic, and probably depressed, becomes the new substitute in a high school in Rimini. He shares his life with Monica (Lea Massari), another depressed person, but he seems more interested in escaping his relationship than cultivating it, finding refuge in a group of local loafers amidst cards, discos, and parties.

At school, Daniele develops an almost instant interest in Vanina (Sonia Petrova), the most melancholic student - and, of course, also the prettiest. One might wonder if that "melancholy" would have struck him just as much if Vanina hadn’t been so attractive. The girl, despite her young age, seems to have a dark past, including an ambiguous boyfriend Gerardo (Adalberto Maria Merli), a shady character who drives her around in a Ferrari.

Between a cultural exchange in Monterchi and a depressing disco party, the passion between Daniele and Vanina grows, even though their relationship seems to be accelerated by an editing that seems to compress the story into a week or so. When Vanina is sent away from Rimini by her mother, a convincing Alida Valli in a shrewish version, Daniele decides to follow her, after a turbulent love interlude in a melancholic shack by the beach. But life, always ready to put everyone in their place, does not offer a happy ending.

The plot does not shine for originality, as stories of sex (or love?) between teachers and students are abundant in literature, cinema, and even rock music (“Don’t stand so close to me”, to cite an example), and rarely do these affairs have a happy ending, but it is partially redeemed by the setting in a wintry, decadent, and squalid Rimini. And, of course, by the beautiful Delon, whose unparalleled charm is here emphasized by a rumpled look and a soft cashmere coat that adds an irresistible touch.

Downsides? The excessively sentimental, morbid, and obsessive tone, with cultural aspirations since the title, and a 70s soundtrack that stands out for its jarring - almost unbearable - trumpet and saxophone notes.

It is the penultimate of the only nine feature films left by Zurlini, a director whose life and career were short, enough for some good films, including this one, but no masterpiece. If you're curious to find out how good Delon was, this film might be a starting point.