Emilio Cigoli Movies

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

A very early Vittorio De Sica effort, The Children Are Watching Us was originally released in Italy as I Bambini Ci Guardano. Director De Sica collaborated with another neorealist pioneer, Cesare Zavattini, on the screenplay. The film, a real tearjerker, concerns a young mother (Isa Pola) who can't stand the pressures exerted on her by family responsibilities. She deserts her husband (Emilio Cigoli) and her brood, permanently ruining the life of her four-year-old son, Prico (Luciano de Ambrosis). Avoiding the rococo gestures and dramatic overstatement that might have attended this film had it been made in Hollywood, De Sica fashions a subtle tale about real people caught up in a real situation. De Sica's sensitivity toward the younger cast members of The Children Are Watching Us would manifest itself in many of his formative films, notably Sciuscià and The Bicycle Thief. Made in 1942, the film was not released in Italy until 1944. ~ Hal Erickson, All Movie Guide

In this French drama, a woman preparing to take her vows to become a nun must write a letter describing her past indiscretions. She goes to a priest to confess that she had killed her former lover when she discovered that he had been sleeping with her mother. Her enraged mother gave her two options: she could become a nun, or go to prison. She chose the former, but when the convent refuses to take her, everything falls apart. ~ Sandra Brennan, All Movie Guide

Vittorio DeSica's Shoeshine (Sciuscia) is a must-see example of Italian neorealist cinema, ranking with such other neorealist classics as DeSica's Bicycle Thieves (1948) and Umberto D. (1952) and Roberto Rossellini's Rome, Open City (1945). Using nonprofessional actors, DeSica and co-screenwriter Cesare Zavattini, also one of neorealism's leading figures, paint an uncompromising picture of the lives of Italian street children abandoned by their parents at the end of World War II. The film concentrates on two such children, Giuseppe (Rinaldo Smerdoni) and Pasquale (Franco Interlenghi). With no one else to turn to, the boys form a solid friendship, as well as a "corporation" of sorts: they eke out a living shining the boots of American GIs. The boys' hope for a rosier future is manifested in their dreams of owning a beautiful white horse. This, along with all their other aspirations, is eradicated when the boys are inadvertently shipped off to a reformatory. A failure in Italy (director DeSica noted that postwar Italian audiences preferred the glossy escapism emanating from Hollywood), Shoeshine was a huge success worldwide, as well as the winner of a special Academy Awards. Like Bicycle Thieves, it combines DeSica's frequent focus on children with his emphasis on post-war social problems. ~ Hal Erickson, All Movie Guide