6.9/10
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3 user 2 critic

L'onorevole Angelina (1947)

A rowdy woman is so forceful that she outdoes her husband in a loud cry against speculators who refuse poor people entrance to a block of new apartments, built after WW2. Without noticing ... See full summary »

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(story), (story) (as Suso D'Amico) | 5 more credits »
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2 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
Nando Bruno ...
Ave Ninchi ...
Ernesto Almirante ...
Agnese Dubbini ...
Cesira
Armando Migliari ...
Callisto Garrone
Maria Donati ...
La signora Garrone
Maria Grazia Francia ...
Annetta Bianchi
Vittorio Mottini ...
Roberto
...
Filippo Garrone
Gianni Musy ...
Libero Bianchi (as Gianni Glori)
Ughetto Bertucci ...
Benedetto Zampaglione (as Ugo Bertucci)
Anita Angius ...
Adriana Bianchi
Aristide Baghetti
Gino Cavalieri
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Storyline

A rowdy woman is so forceful that she outdoes her husband in a loud cry against speculators who refuse poor people entrance to a block of new apartments, built after WW2. Without noticing it, she starts a people's movement, and leads a march to the capital. She returns to her village a winner, an honourable MP. Yet, she is still the same simple, fiery woman, able to get in a hair-pulling brawl with the local barmaid for the affection of her man. Written by Artemis-9

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

12 November 1947 (Italy)  »

Also Known As:

Angelina  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Connections

Referenced in Siamo donne (1953) See more »

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User Reviews

 
Nothing changes at all
12 August 2010 | by (Brazil) – See all my reviews

Probably one of the most engaged neo-realist films, showing in a some didactic way the origins of a spontaneous social movement with feminist characteristics in a very poor community. It is very important for its objective the well balanced cast and the pathos commonly associated with Magnani's filmic persona since at least her Pina in Rosselini's "Rome Open City (1945). The movie stills the tension levels of his main character, but shows some unnecessary subplots, like the case of the innocuous love story between the daughter of Angelina and the mogul's son (first and acceptable unique role made by a very young Zefirelli as actor). But what diminish its bright is the end of narrative, with the abortion of the public engagement voluntarily made by Angelina in spite of the community support. She would be awake for her main role as mother and wife, the main unsatisfied with her new role being obvious the ineffective husband (Nando Bruno) that lack his importance in the family since she begun her cathartic leadership. Is a kind of counter climax for someone waiting a more progressive end. This return of status quo values is indicative even in its visual style - the last sequence, in a circular way, reproduce the same long camera movement describing all the family quiet in its respective beds of its prologue. Nothing changes at all. In this sense, is too little in comparison with his next film, "Anni Difficili", a stunning panorama of Italian fascist years from its rise to the fall.


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