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I Vitelloni (1953)

I vitelloni (original title)
Not Rated | | Comedy, Drama | 7 November 1956 (USA)
A character study of five young men at crucial turning points in their lives in a small town in Italy.

Director:

Writers:

(story), (story) (as Ennio Flajano) | 3 more credits »

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Nominated for 1 Oscar. Another 4 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Sandra Rubini (as Eleonora Ruffo)
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...
Olga
Carlo Romano ...
Michele Curti
Enrico Viarisio ...
Signor Rubini
Paola Borboni ...
Signora Rubini
...
Giulia Curti (as Lida Baarowa)
Arlette Sauvage ...
La sconosciuta del cinema
Vira Silenti ...
Gisella
Maja Niles ...
Caterina (as Maja Nipora)
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Storyline

Fausto Moretti, having seduced Sandra Rubini, the sister of his friend and companion Moraldo Rubini, is forced to marry her. After their honeymoon, he takes a job as a salesman of religious objects in a small shop. He isn't changed by his marriage and still looks for women, with his friends, when and where they can find them. He even tries to seduce the wife of his boss and is fired. After each episode, Sandra forgives him. He and his friends of similar temperament are content to be idle, chase girls and leave the work and job-hunting to others. After spending the night away from home with a girl, Sandra cannot forgive anymore and runs off with their child. Fausto and his friends search all over for them, fearing the worst. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Plot Synopsis

Taglines:

"We are the hollow men in this last of meeting places we grope together and avoid speech. Gathered on this beach of the torrid river." - used by permission from THE HOLLOW MEN by T.S. Eliot

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

Language:

Release Date:

7 November 1956 (USA)  »

Also Known As:

I Vitelloni  »

Box Office

Opening Weekend:

$14,790 (USA) (14 November 2003)

Gross:

$97,944 (USA) (26 March 2004)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

At the end of the film, when Moraldo is saying good-bye to the young boy from the train, his "Good-by, Guido" is actually the dubbed voice of director, Fredrico Fellini. It is believed that Fellini did this to emphasize the fact that the film was autobiographical. See more »

Goofs

When Sandra receives the 'Miss Mermaid' sash, it is placed over her left shoulder. Later inside during the storm it is seen to be over her right shoulder. See more »

Quotes

Sergio Natali: [to Leopoldo and his mates, who have gathered at Natali's dressing room to visit him] Forgive the candle. In these second-rate theaters, they always steal the light bulbs. May I offer you a cigarette? They're domestic, you know. American cigarettes are very bad for you.
See more »

Connections

Referenced in C'era un cinese in coma (2000) See more »

Soundtracks

Io Cerco la Titina
(uncredited)
Traditional
Heard during the carnival
See more »

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User Reviews

 
Fellini's early watershed

The genesis of "I Vitelloni" occurred at a critical time for Federico Fellini. His previous film, "The White Sheik" had been met with such disappointment by critics and audiences that his directoral career was in jeopardy. So, with the need for a successful production on his head, Fellini decided to make a simple comedy...!

The simple story of the five "loafers" and "dreamers" could have been maudlin and trite, but in the hands of Fellini, the story unfolds like a beautiful flower as part of an overall powerful, moving experience. Few directors have communicated their personal vision and experience as intensely as did Fellini. While there is dispute as to whether there is a direct correlation of the character of Moraldo to Fellini himself, Fellini puts us comfortably into his shoes and we connect with Moraldo's frustrations, aspirations, and eventually, his exodus.

With "I Vitteloni", Fellini began to hit his stride of 10 years of greatness, culminating in "Otto e Mezzo". The episodic character exploration of the latter years isn't as dominant here, but the allusions to people, places, and things are presented in full force. The story is easier to follow than later films and is a more central part of the film. This coherence is easier to grasp, making it more accessible for the Fellini neophyte.

But, with all of the talk about Fellini, this is still a magnificent movie that stands on its own. See it.


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