Cesare Zavattini Movies

Anna Magnani is a powerful actress who can rise above the sentimentality of this film and still give a heartwarming performance. When a child has been abandoned by his mother and her boyfriend and is placed in her care, a kindly nun finds that her love for the boy may be more powerful than her vows for the church, as she contemplates leaving the sisterhood to become his full-time Mother. ~ Tana Hobart, All Movie Guide

Directly after his successful The Gold of Naples (1954), Italian filmmaker Vittorio DeSica served up something of a throwback to his neorealist days. In The Roof (originally Il Tetto) a pair of young lovers wed in defiance of their families' wishes. With the confidence of youth, they decide to set up housekeeping for themselves. Alas, they soon learn that living on love is a virtually impossibility-especially in a postwar economy. The box-office failure of The Roof was a major setback for DeSica's directorial career: he would not be able to finance another film until 1960's Two Women. ~ Hal Erickson, All Movie Guide

Legendary producer David O. Selznick teamed with Italian neorealist Vittorio De Sica (The Bicycle Thief) to bring audiences this heartfelt romantic drama concerning the pain of lost love and the difficulty of saying goodbye. When a beautiful but married American woman, Mary Forbes (Jennifer Jones), meets a handsome Italian, Giovanni Doria (Montgomery Clift), while on holiday in Rome, their forbidden affair soon develops into something more for the lovelorn Giovanni. As Mary bids her heartbroken lover farewell at the train station, Giovanni cannot repress his true feelings and begs her to remain with him in Italy. With a script that credits such writers as Truman Capote, Carson McCullers, Paul Gallico, and Alberto Moravia, Indiscretion of an American Wife has endured to become a true buried treasure of romantic cinema. ~ Jason Buchanan, All Movie Guide

In this Italian melodrama, three Roman prostitutes suddenly find themselves on the streets when the city informs them that their brothel is to be destroyed. The story chronicles what happens to each of them. ~ Sandra Brennan, All Movie Guide

Seven top Italian filmmakers pooled their talents on the omnibus "reality" feature Amore in Citta (Love in the City). The film is divided into six separate episodes; the first of these, "Paid Love", is a straightforward study of prosititution written and directed by Carlo Lizzani. In the second, Michelangelo Antonioni's "Attempted Suicide", several would-be suicides discuss the reasons for their despair. Dino Risi's "Paradise for Four Hours" is a humorous glance at a provincial dance hall. Federico Fellini's "Marriage Agency" finds an investigative reporter posing as a husband-to-be. Cesara Zavattini and Umberto Maselli's "Story of Caterina" dramatizes the true story of a young unwed mother. And "Italians Stare", written and directed by Alberto Lattuada, illustrates the various "girl-watching" techniques of Italian males. Among the actors particpating in the six vignettes are Ugo Tognazzi, Maressa Gallo, and Caterina Riogoglioso. Originally intended as the first installment in a "movie magazine" titled "The Spectator", Amore in Citta was released at 110 minutes; most American prints are bereft of the opening "Paid Love" segment. ~ Hal Erickson, All Movie Guide

Indiscretion of an American Wife began its life as a romantic drama entitled Terminal Station, directed with extraordinary skill and sensitivity by neorealist filmmaker Vittorio De Sica and starring Jennifer Jones and Montgomery Clift as a visiting American housewife and her Italian lover. Their tale was depicted against the backdrop of a hundred other stories and characters that De Sica presented in his 89-minute Terminal Station. In Indiscretion, however -- which was cobbled together at 63 minutes by producer David O. Selznick for the U.S. market -- theirs is the only one. Jones' Mary Hughs wrings her hands and wrestles with her conscience, but with no real depth, while Clift's Giovanni Doria emotes with jealousy and lust as she tries to leave him, gets off one train, waits for another, attempts to soothe the feelings of her confused and disappointed nephew (Richard Beymer), and ponders the idea of leaving her husband and marriage. The two accidentally run afoul of the authorities in the process, and risk exposure of their affair. This was a difficult shoot, beginning with the fact that Jones -- who always required lots of direction to give a consistent performance -- didn't speak Italian and De Sica spoke no English. In addition, the actress reportedly found Clift attractive in ways that reminded her of her first husband, Robert Walker; she also found his method-based approach to acting a challenge which she might have met, if only her husband at the time, Selznick, hadn't been deluging them with script changes on a daily basis. To further complicate matters, at some point after Jones found herself drawn to the Clift, she discovered that he was attracted to men, not women, and she reportedly flew into a destructive rage for the afternoon. Despite these problems, De Sica ended up getting a lot more of what he needed than Selznick did of what he wanted. Unhappy with the Italian director's finished 89-minute film and unwilling to challenge the American censors over some of the content (in connection with the tale of an adulterous wife and mother), Selznick, his editor, and writers (including Ben Hecht) went to work on it and delivered Indiscretion of an American Wife, a Hollywoodization of De Sica's neorealist masterpiece, but which lacked almost all of the most subtle elements of De Sica's movie. At times it seems like another attempt (à la Portrait of Jennie) to celebrate Jones' melodramatic screen persona, while elsewhere it focuses on Clift's tempestuous, exciting screen persona; but otherwise, there's very little "there" there, and the setting and scenes are a mere shadow of what was seen in De Sica's original Terminal Station. In 2003, both films -- and they are two separate movies that just happen to utilize the same footage -- were finally compiled under one cover, and in their optimal states, on a Criterion Collection DVD, and can be seen and compared for what they are. ~ Bruce Eder, All Movie Guide

Frequently mentioned on lists of masterpieces of modern cinema, Vittorio De Sica's Umberto D. transforms a simple character study into a painfully poignant drama. Umberto is an aging former civil servant, now retired on his scant government pension. He spends his time in his tiny room in Rome, with only his longtime pet dog for companionship. His lonely life only grows worse when his limited income forces him to fall behind on his rent, leading his landlady to threaten him with eviction. He makes a desperate attempt to raise the needed money and protest the unfair treatment of senior citizens to the government, but he receives little response. His one chance at human contact, through brief conversations with a pregnant servant, proves sadly disappointing. Indeed, Umberto slowly becomes convinced that the situation may be hopeless, and he ultimately considers committing suicide. Considered one of the high points of Italian neo-realist cinema, Umberto D. provides the ultimate example of the movement's unadorned, observational style, which emphasizes the reality of events without calling attention to their emotional or dramatic impact. The unschooled, natural performances also contribute to the film's feeling of verisimilitude, particularly the lead performance by non-actor Carlo Battisti. ~ Judd Blaise, All Movie Guide

A stellar cast distinguishes the so-so seriocomedy Cinque Poveri in Automobile (Five Paupers in an Automobile). The story is set in motion by a winning raffle ticket, jointly held by four people. The first prize is an automobile, which the foursome intend to drive for a day of pleasure before selling the vehicle for cash. Complicating matters is a fifth party, a tramp who inveigles a piece of the action. Aldo Fabrizi heads the cast as a man who is inherently unfond of automobiles; Eduardo de Felippo plays a bricklayer who wants to show off the car to settle an old score; de Felippo's sister Titina portrays an elderly has-been actress who hopes to use the car to keep up a false front; and Walter Chiari is a busboy whose girlfriend won't have anything to do with him unless he wins the car. The screenplay was co-written by star Eduardo de Felippo and neorealism pioneer Cesare Zavattini, among others. ~ Hal Erickson, All Movie Guide

This early Luchno Visconti drama stars Anna Magnani as an overbearing stage mother. Magnani's daughter (Tina Apicella) has zero talent, but Magnani raises such a ruckus at the studio after the girl's abortive screen test that the producers eventually find work for the girl. By this point, Magnani has renounced show business and, with daughter in tow, returns to her patient husband, who has been waiting for his wife to get her dreams of vicarious stardom out of her system. Based on a story by famed Italian scenarist (and frequent Fellini collaborator) Cesar Zavattini, Bellissima seems too trivial a story to be given the tender loving care provided by Visconti. Originally released at 130 minutes, the film was honed down to 90 minutes for American consumption. ~ Hal Erickson, All Movie Guide

The Italian The Sky is Red (Il Cielo e Rosso) details the romantic adventures of two postwar couples. Despite being confined to a quarantined zone (quarantined for political, rather than health reasons), love finds a way. The neorealistic elements are passable, but what really "sold" this film abroad was its graphic-for-its-times sexual content. The cast is headed by Jacques Sernas and Marina Berti, another step in the right direction box office-wise. One of the young romeos is played by Mischa Auer Jr., son of the famed Russian comic actor. Among the many screenwriters of The Sky is Red is frequent De Sica and Fellini collaborator Cesare Zavattini. ~ Hal Erickson, All Movie Guide

Domenica D'Agosto was the first feature-length effort from Italian documentary filmmaker Luciano Emmeri. The film keeps within the accepted guidelines of Italian neorealism, albeit with a surfeit of warmth and humor. Emmeri details a typical midsummer Sunday in a seaside resort. A cast of professional actors mingles with carefully chosen nonprofessionals to illustrate a series of perceptive vignettes about big-city vacationers. Such is the consummate skill of the director and his screenwriters (including the ubiquitous Cesare Zavattini) that it's difficult for the audience to determine where the scripted scenes end and the "real" scenes begin. ~ Hal Erickson, All Movie Guide