In a small Italian village, Maria De Ritas is engaged to army Lieutenant Pietro Stelluti. Stelluti’s superior officer, Marshal Antonio Carotenuto, is contemplating marriage to Annarella Mirziano, but he will be forced to resign if he marries Annarella, since she has an illegitimate child and that is against regulations for army officers. When Stelluti leaves town for a few weeks, the town-gossips create an affair out of the innocent relationship between Maria and Antonio. Stelluti returns and accuses Maria of infidelity, and, she, in reprisal, runs off and joins a traveling theatrical troupe as a dancer. Antonio, after convincing Annarella that he has not betrayed her love, encounters more trouble when the father of Annarella’s child shows up,and asks that she and the child go away with him. Antonio tells Annarella that it her decision to make, and she chooses the child’s father and goes away with him… —IMDb
Luigi Comencini (8 June 1916, Salò – 6 April 2007) was an Italian film director. Together with Dino Risi, Ettore Scola and Mario Monicelli, he was considered among the masters of the commedia all’italiana genre.His daughters Cristina and Francesca are both film directors.
Patron, together with Alberto Lattuada and Mario Ferrari, of Cineteca Italiana, the first Italian film library, in the post-war period Luigi Comencini became a film critic, initially for “L’Avanti!”, and later for the weekly “Tempo”. In ‘46 he made his directing debut with the documentary “Children in cities (Bambini in città)”; two years later he made his first feature length film, “Guagliò (Probito rubare)”. Commercial fortune, nonetheless, was only to smile on him with the diptych “Bread, love and dreams (Pane, amore e fantasia)” (1953) and with “Frisky (Pane, amore e gelosia” (1954), a prime example of that pink neorealism destined to prove so popular in Italian cinema. The Sixties saw him play a leading… read more