6.6/10
707
7 user 12 critic

Love in the City (1953)

L'amore in città (original title)
Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.

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(segment), (segment) | 4 more credits »
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Cast

Cast overview, first billed only:
Rita Josa ...
(segment "Tentato suicidio")
Rosanna Carta ...
(segment "Tentato suicidio")
Enrico Pelliccia ...
(segment "Tentato suicidio")
Donatella Marrosu ...
(segment "Tentato suicidio")
Paolo Pacetti ...
(segment "Tentato suicidio")
Nella Bertuccioni ...
(segment "Tentato suicidio")
Lilia Nardi ...
(segment "Tentato suicidio")
Lena Rossi ...
(segment "Tentato suicidio")
Maria Nobili ...
(segment "Tentato suicidio")
...
Giornalista (segment "Agenzia matrimoniale, Un'")
Livia Venturini ...
(segment "Agenzia matrimoniale, Un'")
Maresa Gallo ...
(segment "Agenzia matrimoniale, Un'")
Angela Pierro ...
(segment "Agenzia matrimoniale, Un'")
Rita Andreana ...
(segment "Agenzia matrimoniale, Un'")
Lia Natali ...
(segment "Agenzia matrimoniale, Un'")
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Storyline

Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.

Plot Summary | Add Synopsis

Taglines:

You see love as it really is...RAW! REVEALING! SHOCKING! See more »


Certificate:

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Details

Country:

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Release Date:

27 November 1953 (Italy)  »

Also Known As:

Love in the City  »

Filming Locations:

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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

At 27 minutes, 'Cesare Zavattini' and 'Umberto Maselli''s fifth segment, "Story of Caterina", is the longest while Carlo Lizzani's opener "Paid Love" is the shortest at 11 minutes. Running times of the remaining segments are 22 minutes for Michelangelo Antonioni's "Attempted Suicide", 12 minutes for Dino Risi's "Paradise for Three Hours", 16 minutes for Federico Fellini's "Marriage Agency" and 14 minutes for Alberto Lattuada's "Italians Stare". See more »

Connections

Referenced in The Magic of Fellini (2002) See more »

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User Reviews

 
Omnibus film in the Neorealist vein
18 February 2002 | by See all my reviews

That was the intent, anyway. Cesare Zavattini produced the film and brought together five directors to make short films about love. The results are all good, but none of them great. They all have problems. To add to this problem, the version that I saw had English narration in the prologue and in the inter-segments, and sometimes in the short films themselves. I don't know if anything was edited out.

Part 1 (d. Dino Risi): This segment is a charming little film about the people in a dance hall. It has no real story. Instead, we see couples connect, people alone, and couples break up. It's very nice.

Part 2 (d. Michelangelo Antonioni): Of course, I saw the film for the Antonioni and Fellini segments. They're two of my very favorite filmmakers. Antonioni's is quite interesting. It is the most documentary-like segment. I don't know if it's true, but the narration claims that they gathered together a group of people who had attempted suicide over failed relationships. Two women tell their stories in an interview format. It's quite good.

Part 3 (d. Federico Fellini): At first, this looks like it will be the best of the film. The opening sequence, with the main character wandering through the narrow hallways of a Roman apartment building looking for a matrimonial service (the equivalent of a dating service). A young child tells him that he will lead him to that room, and as they proceed, other children show up and follow them. That's a very mystical scene, but what follows is very disappointing. The man claims that he's looking for a wife for his friend, who happens to be a werewolf. This segment is the one that hints that there might have been some editing in the version that I watched. This man is introduced to the girl, they have a conversation in a field, and then the man, I guess, tells her that she is too good to do so. The result is nonsensical. There is absolutely no payoff. Actually, the weak ending reminds me a lot of the segment Fellini wrote for Roberto Rosselini's Paisa.

Part 4 (d. Mesallini Zavattini): I assume Zavattini is related to Cesare, probably his brother or son. Anyhow, this segment is most in-line with the neorealistic movement, which was dying by the time this film was made. A Sicilian woman went to Rome to find maid work. Her first employer impregnates her and then fires her. Now she's stuck with a young boy but no money whatsoever. She tries to scam a nanny into taking care of the kid, but he is eventually given back to her. There is a beautiful scene where the mother changes her sons diaper on the edge of a fountain. This scene's real-time realism is reminiscent of the maid's morning duties in Vittorio de Sica's Umberto D., made shortly after this film and written by Cesare Zavattini. The climactic scene is truly heartbreaking, but the end is horribly anticlimactic. This film really shouldn't have had a happy ending. Neorealism and happy endings really don't mix.

Part 5 (d. Alberto Lattuada): Lattuada is most famous for co-directing with Fellini on his first film, Variety Lights. His segment in Love in the City is perhaps the best of the film. It has no story at all. Instead, it is a non-narrative compilation of the reactions of men when they see beautiful woman. The editing reminded me of Leni Riefenstahl's Olympia. It's quite musical. In fact, the music of this segment is really good. The film ends on a very poetic moment.

All in all, you should see the film if you're a fan of Italian cinema, or just of Antonioni or Fellini. 7/10.


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