A masked bandit steals valuables from Commendatore Anzaloni’s apartment and flees, leaving Anzaloni unharmed. Inspector Ingravallo is called in. The robbery is suspicious; the thief found the jewellery too quickly. The neighbour, Liliana Banducci, employs a servant girl, Assuntina. Her fiancé, Diomede, tries to flee when he sees police tailing Assuntina. But Diomede has an alibi, a rich American woman… Liliana’s cousin, Dr. Valdarena, pays her a visit, only to find her body on the floor. But before calling police, Valdarena removes an envelope addressed to him from the sideboard… Liliana’s husband Remo was away from Rome at the time of the murder, but he is surprised to hear that Liliana had changed her will only the week before… —IMDb
Genoa native Pietro Germi briefly attended the Instituto Nautico before entering Rome’s Centro Sperimentale di Cinematographia . There he studied acting and directing, supporting himself with a number of bottom-level movie industry jobs. In 1946, he directed his first film, Il Testimone, which he also co-scripted. Almost immediately tagged as a “neorealist,” Germi actually had more in common stylistically and thematically with American director John Ford (whom he deeply admired) than his Italian contemporaries. By the mid-1950s, Germi had pretty much abandoned drama in favor of satirical comedy, often utilizing the poverty-stricken regions of Sicily as his backdrop. Germi’s Divorce Italian Style (1961) was a huge worldwide box-office hit which earned him an Oscar for “Best Screenplay” (in collaboration with Alfredo Giannetti and Ennio de Concini). In 1965, he was co-recipient of the Cannes festival “Best Picture” award for Signore e signori, released in the U.S. as The Birds, the Bees… read more