Alberto Sordi Movies

His Young Wife is a genteel Italian comedy about the pitfalls of romance. Middle-aged clerk Travet (Carlo Campanini) is the husband of young and very pretty Rosa (Vera Carmi). When Rosa begins a harmless flirtation with Travet's boss (Gino Cervi), rumors begin flying. The upshot of this tempest in a teapot is a fistfight between Travet and his "rival," culminating in the clerk's dismissal. But salvation is at hand in the form of Travet's son-in-law (Domenico Gambino) whom the clerk had previously dismissed as a low-life. Realizing that he's been too hasty in all his judgments, Travet willingly accepts a job at his son-in-law's bakery. ~ Hal Erickson, Rovi

The exclamatory title of this Italian drama translates as What Queer Times! The plotline concerns a miser, and the effect his parsimoniousness has on all those around him. To its credit, the screenplay makes an effort to understand the miser's character, rather than depict him as a cardboard villai. Star Gilberto Govi is effective in the leading role, albeit a bit overwrought at times. When Che Tempi! first saw the light of a carbon arc back in 1947, much was made of the fact that leading lady Lea Padovani was the current fiancee of American wunderkind Orson Welles. ~ Hal Erickson, Rovi

This episodic Italian comedy follows the misadventures of housemaid Maria (Elsa Merlini). Her various employers include a salesman (Aldo Fabrizi) who values peace and quiet, but never gets it, and a vainglorious actor (Vittorio de Sica) with woman trouble. Through it all, Maria survives with a little help from her friends, including best pal Ermelinda, played by the future star of Stromboli and Juliet of the Spirits, Giulette Masina. Among the screenwriters for this film was Masina's husband Federico Fellini. Cameriera Bella, Presenza Offresi marked the return to the screen of Elsa Merlini, one of the most popular personalities of the prewar Italian cinema. ~ Hal Erickson, Rovi

The White Sheik (Lo Sceicco Bianco), Fellini's first solo flight as director, is a gentle lampoon of the idolatry heaped upon movie stars. An impressionable young bride, Wanda (Brunella Bovo) accompanies her husband Ivan (Leopoldo Trieste) on a dull honeymoon, full of meetings with family members and the papal father. Bovo fantasizes over matinee idol Fernando Rivoli, AKA The White Sheik (Alberto Sordi), the hero of a photo strip comic. She repeatedly drifts away from her husband and back, in periodic attempts to find The Sheik, ultimately repairing to the location site where Sordi's latest film, The White Shiek, is in production. Her inevitable disillusionment with the vainglorious Sordi is intercut with her husband's comic (and desperate) attempts to explain his wife's absences at family gatherings to his disgruntled relatives. After a comically inept suicide attempt, Bovo and Trieste are reunited. Featured in the cast is Fellini's wife Giuletta Masina as a prostitute named Cabiria, who'd be given a vehicle of her own, Nights of Cabiria, in 1955. Based on "an idea" by Michelangelo Antonioni, The White Sheik was the main inspiration for Gene Wilder's The World's Greatest Lover (1977). ~ Hal Erickson, Rovi

Italian maestro Federico Fellini's first international success is a nakedly autobiographical film that bears many of the formal and thematic concerns that recur throughout his work. Set in the director's hometown of Rimini, I Vitelloni follows the lives of five young vitelloni, or layabouts, who while away their listless days in their small seaside village. Fausto (Franco Fabrizi), the leader of the pack, marries his sweetheart, but finds himself constantly distracted by other women. Meanwhile, would-be playwright Leopoldo (Leopoldo Trieste) continues work on his dreary plays, dreaming of staging them one day. Clownish Alberto (Alberto Sordi) still lives at home with his mother and sister, Olga (Claude Farell), while boasting of preserving the family honor by watching over her. While the movie seems to pay little attention to Riccardo (Riccardo Fellini) and Moraldo (Franco Interlenghi), the latter eventually emerges as its key character, plainly serving as Fellini's alter ego. Stuck in adolescence, the five friends stumble into various misadventures, as they seek to spice up their uneventful provincial lives. Ultimately, one of them breaks free from their self-imposed paralysis and moves on, leading to one of the most poignant farewell sequences in film history. A hit in Italy upon its release, I Vitelloni secured Fellini's reputation as an up-and-coming talent, while also introducing its title into Italian vernacular. ~ Elbert Ventura, Rovi