Three episodes. The refrigerator. A married couple of two poor emigrant workers spend almost all their money to buy a refrigerator (a must in the ‘70s). The purchase is too expensive for their familiar balance sheet. To earn some money they decide to go for prostitution. The wife is not so unhappy to the perspective. The room. To celebrate ten years of marriage a couple decides to spend a quick holiday in top luxury hotels in Sardegna. But the fashion luxury VIP world is too hard to enter; they soon will end in prison. The Lion. Two adulterous, Antonio and Giulia, are blocked by a lion, staying on the exit in the place they met. They both have to come back home, but couldn’t move because of the lion presence. The critic situation soon drive them to their limit peak, showing their real essence. —IMDb
Few European film-makers combined artistic ambitions with a genuine populist spirit in the manner of Vittorio De Sica. In his prolific career, the actor-director made many films on social subjects which nonetheless engaged a mass audience. A Neapolitan by birth, De Sica came from humble roots, working as a theatre actor in the early 1920s. His stage success led De Sica to films where he proved to be a popular actor, mounting more than thirty film credits before his directorial debut with Rosa Scarlatte (which he co-directed with Giuseppe Amato). Even after his success as a director, De Sica was a much sought after performer; appearing in such classics as Max Ophüls’ Madame de… and Roberto Rossellini’s Il Generale della Rovere.
De Sica’s fourth outing as a director was his first collaboration with screenwriter and film theorist Cesare Zavattini. The Children Are Watching Us anticipated neorealism in its detached focus on a young boy’s growing isolation from his mother. De Sica’s… read more
Although associated with the 1950s period of commedia all’italiana, Mario Monicelli’s career hearkened back to Italy’s silent era; being in fact a predecessor to Italian neorealism rather than succeeding it. Born in Tuscany in 1915, Monicelli gravitated to cinema early in his life, entering the film business in the early-30s. His first films were co-directed with Alberto Mondadori, most notably a silent film adaptation of Ferenc Molnar’s The Paul Street Boys which won an award at the Venice Film Festival. Monicelli alternated as an assistant director and writer for other film-makers along with his own projects. His first solo feature was Summer Rain, made in 1937. He first achieved renown for a series of films starring Italy’s famous comic Totò. Initially co-directed with Stefano ‘Steno’ Vanzina, Monicelli went solo with Totò e Carolina.
His first major film also marked his first collaboration with the screenwriting duo, Age & Scarpelli. I soliti ignoti (1958), better known… read more
Alberto Sordi, also known as Albertone, Cavaliere di Gran Croce OMRI (June 15, 1920 – February 25, 2003) was an Italian actor. He was also a film director and the dubbing voice of Oliver Hardy in the Italian version of the Laurel & Hardy films.
Born in Rome to a schoolteacher and a musician, Sordi enrolled in Milan’s dramatic arts academy but was kicked out because of his thick Roman accent. It was his accent that would later prove to be his trademark.
In a career that spanned seven decades, Sordi established himself as an icon of Italian cinema with his representative skills at both comedy and light drama. His movie career began in the late 1930s with bit parts and secondary characters in wartime movies. After the war he began working as a dubber for the Italian versions of Laurel and Hardy shorts, voicing Oliver Hardy. Early roles included Fellini’s The White Sheik in 1952, Fellini’s I vitelloni (1953), a movie about young slackers, in which he plays a weak, effeminate… read more