Sergio Amidei Movies

The Difficult Years is another uncompromising neorealist exercise by Italian filmmaker Luigi Zampa. The title refers to the years that Italy spent under the thumb of fascism. It is Zampa's thesis that the majority of Italian citizens preferred to ignore Mussolini's trampling of human rights and his ever-increasing megalomania, so long as they were left in peace. Umberto Spadaro stars as Aldo Piscitello, an utterly apolitical government clerk who joins the Fascist Party to maintain his job security and keep his wife happy. After the war, the hapless Aldo is accused of being a fanatical follower of fascism. Though innocent of this charge, he is certainly guilty of not speaking up when it would have done the most good. The English-language version of Difficult Years includes a narration written by Arthur Miller and spoken by John Garfield. ~ Hal Erickson, All Movie Guide

A stellar international cast compensates somewhat for the rambling plotlessness of The Girl Game. The film takes place during Carnival Time in Rio De Janeiro. As unconfined joy wafts its way through the streets, the lives of several fabulously wealthy visitors and a group of voluptuous stewardesses intersect, sometimes with startling results. Sylvia Koscina and Mylene Demongeot are among the visual delights of this garish romp. Originally released at 125 minutes, The Girl Game (also known as Copacabana Palace and The Saga of the Flying Hostesses) was pared down to 90 minutes for its play-off dates. ~ Hal Erickson, All Movie Guide

An Italian engineer who has been working in Sweden returns with his wife to his homeland for a short visit, and he is swiftly detained for some unspecified crime. He moves from horrid prison to even more horrid prison as he awaits trial. His sanity grows ever more shaky in the process, and he still has not learned what the charge is. After even more suffering, he eventually learns the charge against him, just as it is being dropped. This relentless indictment of the Italian prison system is leavened with some humorous moments. The film features comic actor Alberto Sordi, who won a "Best Actor" award for this role at the 1972 Berlin Film Festival. ~ Clarke Fountain, All Movie Guide

This comedic social satire mercilessly lampoons Italy's ineffectual health-care system that allows for corruption and mass hypochondria. An ambitious Dr. Tersilli (Alberto Sordi) bets his fellow doctors that he can amass more patients and benefits than they can. Learning the ins-and-outs of the system, his office is soon jammed with patients seeking treatment for a variety of real or imagined maladies. The beginning of the film opens with the doctor's collapse due to exhaustion in his fervent goal to see over 2,000 patients. The remainder of the film flashes back to how the vibrant young physician is turned into a frail patient who must stay at home and dispense advise over the telephone. ~ Dan Pavlides, All Movie Guide

Caught in an unhappy marriage, Piera Fabbri (Giovanna Ralli) leaves her physicist husband Andrea (Paul Guers) and runs off with her lesbian lover, Luisa (Anouk Aimee). However, Piera soon discovers that her new-found relationship may not be the answer to her problems. ~ Iotis Erlewine, All Movie Guide

This talky French costume drama chronicles the adventures of King Louis XVI and Marie Antoinette as they attempt to flee Paris during the 1791 revolution. While en route to Varennes, the couple encounter and have philosophical debates with a number of fascinating historical figures including Thomas Paine and Restif de la Bretonne. ~ Sandra Brennan, All Movie Guide

This film marks the final performance of the notable French film star Pierre Brasseur, who died not long after the film was shot. One of his better-known films is Children of Paradise. In this film, an Italian industrialist (Alberto Sordi) who has made his fortune using some shady tactics, unwittingly becomes the victim and entertainment for four retired jurists. These four men (Pierre Brasseur, Michel Simon, Charles Vanel and Claude Dauphin), though retired, make it a practice to keep their legal skills sharp. Whenever a suitable villain stumbles across their path, they conduct a trial with all the trimmings. It is a form of play, but these virtuoso lawyers are quite serious about it. ~ Clarke Fountain, All Movie Guide

Roberto Rossellini's Roma, Città Aperta (known in English as Open City) was one of the landmark films of the 1940s on several levels. Aesthetically, it was one of the first major works of Italian neorealist filmmaking and perhaps the single most influential example of the style. Historically, it was among the first postwar European films to gain a significant audience in the United States, opening the door for a greater appreciation of international filmmaking in America. And politically, it was a work of tremendous bravery. The screenplay was written by Roberto Rossellini in association with Federico Fellini and Sergio Amidei while Rome was still occupied by German forces in 1943-44. Rossellini began filming in secret, using scavenged film stock without sound equipment, shortly before the city was liberated in June of 1944. Several key members of his creative team had been active in the Italian resistance movement. With its rough, documentary-style look, multi-layered narrative, and a cast that mixed amateurs with actors who didn't look like film stars, Roma, Città Aperta captured the harsh and unforgiving textures of real life as few movies of its time had dared. It set the pace for Italian Neorealism as an influential postwar film style that combined outdoor light and location shooting with non-actors, a focus on simple stories of everyday life, and a concern for the poor and for social problems. Roma, Città Aperta shows the lives of a group of people living in Rome during the Nazi occupation, after the Germans had declared it an "open city." Anna Magnani plays a woman in love with a member of a resistance group; in helping him, she risks not only her own life, but also that of her unborn child. Aldo Fabrizi plays a priest who aids the anti-Nazi cause and pays dearly for his activism. Marcello Pagliero is an outspoken communist who runs afoul of the Nazis. And Harry Feist plays a German officer who has taken an Italian lover, but whose affection for Romans does not run especially deep. While Roma, Città Aperta shows flashes of the melodramatic sentimentality that would mark much of Rossellini's later work, it still rings true as a chronicle of a city under siege and as the genesis of a powerful new film style whose influences include such later filmmakers, among many others, as John Cassavetes, Martin Scorsese, Robert Altman, and Spike Lee. ~ Mark Deming, All Movie Guide

Parigi e Sempre Parigi (Paris is Always Paris) was the second feature-length effort from famed Italian documentary director Luciano Emmer. Whereas Emmer's first feature, Domenica d'Agosto (Sunday in August) was a warm-hearted study of the Italian middle class, Parigi concentrates on a gentle cultural clash between a band of Italian sports fans and the citizenry of Paris. The hero, DeAngelis (Aldo Fabrizi), has heard so much about "naughty Paree" that he's determined to experience that naughtiness first hand. This plot device, of course, obliges the director to introduce several delectable French mademoiselles in the proceedings. Ultimately, DeAngelis realizes that reports of French libertinism have been grossly exaggerated, but he has a high old time finding this out. ~ Hal Erickson, All Movie Guide