The Magnificent Cuckold is about a hat tycoon who is ecstatically, if not hungrily, in love with his youthful wife. It is all blissful, that is, until our man, middle-aged and somewhat of a square among his blasé, upper-class friends to whom cuckoldry is a common practice, is seduced by one of them. At this point doubts and suspicions, like conscience, begin to plague him. If he could succumb to extramarital confections, why not his gorgeous mate? Quickly his love for his spouse degenerates beyond obsessive, into the realm of maniacal. He becomes madly concerned that his wife is cheating on him – even though she is not being unfaithful. When he looks at her it becomes obvious to him that she is a very attractive woman. And, all the men around her must be dying to be with her. Gnawed by jealously, he will imagine variations on nabbing her and her lover in flagrante delicto. —Wikipedia
Antonio Pietrangeli (born January 19, 1919 in Rome, Gaeta, died July 12, 1968) was an Italian film director and screenwriter. Pietrangeli was a major practitioner of the Commedia all’italiana genre.
He started writing film reviews for famous Italian cinema magazines such as Bianco e nero and Cinema. As a screenwriter, Pietrangeli’s work included Ossessione directed by Visconti, Fabiola by Blasetti, Europa ’51 by Rossellini, and La lupa by Lattuada.
His directing debut was Il sole negli occhi (1953). Career highlights include Io la conoscevo bene (1965) and Adua e le compagne (1960).
He died in a car accident in 1969 while working on Come, quando, perché, which was completed by Valerio Zurlini. —Wikipedia