An episodic comedy with seven segments.
La Diva : A fashion model brings an injured man to hospital. Naturally the doctors only have eyes for her and most of the other patients forget about their pain and jump out of bed to ogle her.
Processo a Porte Chiuse : A chicken thief tries to defend himself in court. Effectively a 5 minute monologue by a cross eyed Nino.
Ornella : The obligatory transvestite sketch. Ornella receives news that his pen pall (who is unaware of Ornella’s true gender) is coming for a visit and pretends that Ornella is his sister. This segment goes on longer than necessary and fails to deliver a satisfying ending.
Il Guardone : The funniest bit is also the shortest (and the only one without any dialogue). It concerns a near sighted peeping Tom and features some great Sixties music.
L’ultima Vergine : A young woman suspects the phone company man of being a vicious criminal. Nino deadpans all the way through. A bit repetitive but not too long.
Motrice Mia : A married man has an unhealthy obsession with trains. Quite a clever and disturbing little sketch featuring a solid buildup and some funny lines after the cat is out of the bag.
Vedo Nudo : A fashion editor starts to see naked women everywhere he goes.This one-joke sketch is just an excuse to put in as many flashes of female nudity they could get away with in 1969. Blow Up like fashion models and Nino’s Sixties bachelor pad ad to the fun but it takes to much time to resolve itself. —IMDb
Dino Risi was born in Milan on 23 December 1917. He began his cinematographic career as Mario Soldati’s assistant on Old-Fashioned World (Piccolo mondo antico) in 1940 and then as Lattuada’s assistant in Giacomo the Idealist (Giacomo l’idealista) in 1942. During that period he also contributed to the scripts of the films Anna by Lattuada (1952), Totò e i re di Roma (1951) by Steno and Monicelli and Sunday Heroes (Gli eroi della domenica) by Camerini (1952).
After a series of short films (the most famous of which was Buio in sala), in 1952 he moved to Rome and produced his first fictional feature film, Vacanze col gangster. In 1953 he directed Paradiso per tre ore, an episode in the film Love in the City (L’amore in città) (the other episodes were produced by Antonioni, Fellini and Lattuada), his first experiment with a genre that he was to specialise in over the coming decade.
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