IMDb > I Vitelloni (1953)
I vitelloni
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I Vitelloni (1953) More at IMDbPro »I vitelloni (original title)

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Overview

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8.0/10   8,615 votes »
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Director:
Writers:
Federico Fellini (story) &
Ennio Flaiano (story) ...
(more)
Contact:
View company contact information for I Vitelloni on IMDbPro.
Release Date:
7 November 1956 (USA) See more »
Genre:
Plot:
A character study of five young men at crucial turning points in their lives in a small town in Italy. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 5 wins & 1 nomination See more »
NewsDesk:
(17 articles)
New on Video: ‘I vinti’
 (From SoundOnSight. 16 July 2014, 4:34 AM, PDT)

I Vinti | Blu-ray Review
 (From ioncinema. 8 July 2014, 7:00 AM, PDT)

'La Dolce Vita' (1960) - Best Movies #1
 (From Rope Of Silicon. 22 January 2014, 9:19 AM, PST)

User Reviews:
Fellini's best. See more (49 total) »

Cast

  (in credits order) (verified as complete)
Franco Interlenghi ... Moraldo Rubini

Alberto Sordi ... Alberto
Franco Fabrizi ... Fausto Moretti
Leopoldo Trieste ... Leopoldo Vannucci
Riccardo Fellini ... Riccardo

Leonora Ruffo ... Sandra Rubini (as Eleonora Ruffo)

Jean Brochard ... Francesco Moretti
Claude Farell ... Olga
Carlo Romano ... Michele Curti
Enrico Viarisio ... Signor Rubini
Paola Borboni ... Signora Rubini
Lída Baarová ... Giulia Curti (as Lida Baarowa)
Arlette Sauvage ... La sconosciuta del cinema
Vira Silenti ... Gisella
Maja Niles ... Caterina (as Maja Nipora)
Achille Majeroni ... Sergio Natali
Guido Martufi ... Guido
Silvio Bagolini ... Giudizio
Milvia Chianelli ... L'amica di Riccardo
rest of cast listed alphabetically:
Enzo Andronico ... Un ragazzo al carnevale (uncredited)
Alberto Anselmi ... (uncredited)
Riccardo Cucciolla ... Narrator (voice) (uncredited)
Gustavo De Nardo ... (uncredited)
Graziella De Roc ... (uncredited)
Giovanna Galli ... Ballerina (uncredited)
Franca Gandolfi ... Ballerina (uncredited)
Lilia Landi ... Herself (uncredited)
Gigetta Morano ... La madre di Alberto e Olga (uncredited)
Lino Toffolo ... Un ragazzo al carnevale (uncredited)
Gondrano Trucchi ... (uncredited)

Directed by
Federico Fellini 
 
Writing credits
Federico Fellini (story) &
Ennio Flaiano (story) (as Ennio Flajano) &
Tullio Pinelli (story)

Federico Fellini (screenplay) &
Ennio Flaiano (screenplay)

Produced by
Jacques Bar .... producer (uncredited)
Mario De Vecchi .... producer (uncredited)
Lorenzo Pegoraro .... producer (uncredited)
 
Original Music by
Nino Rota 
 
Cinematography by
Carlo Carlini 
Otello Martelli 
Luciano Trasatti 
 
Film Editing by
Rolando Benedetti 
 
Production Design by
Mario Chiari 
 
Set Decoration by
Luigi Giacosi 
 
Costume Design by
Margherita Marinari 
 
Makeup Department
Michele Bomarzi .... makeup artist (as Bomarzi)
 
Production Management
Danilo Fallani .... assistant production manager
Luigi Giacosi .... production manager
 
Second Unit Director or Assistant Director
Moraldo Rossi .... assistant director
Max de Vaucorbeil .... assistant director (as Max De Vaucorbeil)
Stefano Ubezio .... assistant director (uncredited)
 
Art Department
Italo Tomassi .... set designer (uncredited)
 
Camera and Electrical Department
Ampelio Ciolfi .... still photographer
Roberto Gerardi .... camera operator (as Roberto Girardi)
Franco Villa .... camera operator
 
Music Department
Franco Ferrara .... conductor
 
Other crew
Ugo Benvenuti .... production secretary
Ettore Catalucci .... laboratory technician
Narciso Vicario .... script supervisor (as Vicario Narciso)
Adolfo Geri .... voice dubbing: Leopoldo Trieste (uncredited)
Nino Manfredi .... voice dubbing: Franco Fabrizi (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"I vitelloni" - Italy (original title)
"The Young and the Passionate" - , Europe (English title) (imdb display title), International (imdb display title), International (English title) (imdb display title), UK (imdb display title), USA (alternative title)
See more »
Runtime:
Argentina:101 min | Germany:100 min | USA:104 min | Italy:107 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The part for 'Sergio Natali' was originally offered to the great Italian director, 'Vittorio de Sica'. He politely declined as he was concerned that the character's homosexuality might mark the director himself as a homosexual.See more »
Goofs:
Continuity: 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:He who cares not for art, cares not for life.See more »
Movie Connections:
Referenced in A Decade Under the Influence (2003)See more »
Soundtrack:
Io Cerco la TitinaSee more »

FAQ

This FAQ is empty. Add the first question.
57 out of 78 people found the following review useful.
Fellini's best., 12 September 2004
Author: FilmSnobby from San Diego

Federico Fellini's second feature, *I Vitelloni* (literal trans.: "fatted veal calves"; figurative trans.: "the guys"), is an honest, unpretentious work from the Master before he became besotted with his own self-indulgence.

It's autobiographical in several indirect ways. The depictions here of young men who are not quite so young anymore, living with their mothers, settling for dead-end jobs or simply not working, and generally languishing their lives away, are based on Fellini's own observations of such fellows in his boyhood home of Rimini. Autobiographical too in its sense of style: the movie is inescapably stamped by the Neo-Realism of Fellini's apprenticeship. The grimy faces of working-class people, crumbling tenements, and weed-choked rail-yards are all here. But with a difference: Fellini casts a critical eye on this scene, eschewing the usual Neo-Realist appeal to our presumed socialist sympathies. *I Vitelloni* is not a political film in the usual mid-century Italian manner. Fellini gives us a quintet of heroes who, for the most part, aspire to be bourgeois big-shots of their shabby seacoast town. Not content with that, he makes them lazy, as well . . . and then he asks us to root for them, to actually like them! Needless to say, the intelligentsia of the period didn't warm to this film, even as the film-going public in Europe loved it, recognizing themselves and their friends and their own hometowns in it.

Just as Shakespeare shows us the brilliant results of striving within the non-negotiable limits of the nine-line sonnet or the blank verse of his plays, Fellini achieves genius in this film, stylistically, from the fruitful tension between the dictates of Neo-Realist imperatives (which no young Italian director of the Fifties could ignore if he wanted a career), and the dictates of his own vision. For, even while being a dutifully serious Neo-Realist (even to the point of employing a static, unblinking, non-flashy camera on the proceedings -- hardly the "Fellini-esque" style we would see in later years!), the director's penchant for the grotesque can no longer contain itself. In this film we get the aging, corpulent homosexual actor, with hair in need of a cut, noisily slurping up soup while one of the Vitelloni reads aloud to him some terrible play he has composed. We get the nauseous parties, in which Fellini tosses the Neo-Realist camera in the trash and picks up his own camera, swooping with it into the hot, frantic fray, honing in for sweaty close-ups, climbing the rafters for a dizzying aerial view, skewing the angles while watching an off-key trumpet player blare into the ear of a miserable drunk, and filling the screen with gigantic papier-mache clowns that constitute the floats of a Lenten parade. At the same time, the mandate to keep himself in check, or perhaps the humble desire to make an easily digestible movie, gives *I Vitelloni* the discipline and order so lacking in post-*8-1/2* Fellini films.

But the thematic meat of the movie provides the most fruitful tension. Fellini shows us the Vitelloni, the "guys", most of them creeping past 30, grasping after any passing pleasure that comes to hand, whether it be a woman (young or old, married or not, willing or not), a drunken night at the local pool hall, an attempt at petty thievery, a day of gambling at the races, or whatever. Then Fellini contrasts this with the older generation, tellingly single (their mates long buried), barely supporting the passel of lazy Vitelloni and assorted nieces and grandchildren who all lay about the family home. The old folks' sacrifices seem to have produced ignoble results, particularly within themselves: all too often, the old men and women are grouchy, unhappy, prone to fits of violence or weeping, and -- saddest of all -- lonely. The Vitelloni look at their elders, see the sterile results of lives rendered bereft by tradition and "sacrifice", and naturally rebel, searching in easy hedonism for the happiness that has eluded their parents. One character, a compulsive womanizer, plans on running away after he knocks up his girlfriend -- and why not? The womanizer's bitter father provides no wholesome example of "responsibility". Indeed, it seems as if the old man forces his son to marry the girl simply because he, the father, is friends with the girlfriend's father, and, after all, misery loves company. The question of whether or not the cad actually loves the girl is never asked. Guess how this marriage turns out.

Without unduly spoiling things, one of the Vitelloni actually DOES escape the shabby town by movie's end, but even here Fellini offers an unequivocal qualification: the character, staring out the window as the train pulls out, hangs his head and weeps. He knows, as do we, that he will be just as unhappy in Rome as he was in this fictionalized Rimini. Meanwhile, a young boy who works at the train station waves goodbye to the leaving train and turns his back on it, balancing precariously on a rail as he boyishly walks off. Fellini indicates that some people will simply be happier than others, no matter the circumstances: truly one of cinema's bleaker statements on the human condition.

*I Vitelloni* remains a great masterpiece, and is Fellini's most neglected film . . . though it somehow seems fitting that a movie which virtually INVENTED the notion of "slackers" should be forgotten. No matter: perfection is rarely popular, anyway. 10 stars out of 10.

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