6.6/10
118
3 user 10 critic

L'angelo bianco (1955)

Guido Carani, an engineer of noble descent, has just lost his son born to him by a chorus dancer, who, desperate, has become a nun. After a while he also loses his wife and daughter in a ... See full summary »

Writers:

(story and screenplay), (story and screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
...
L'ingegnere Guido Carani
Yvonne Sanson ...
Sister Addolorata / Lina Mercolin
Enrica Dyrell ...
Elena Carani (as Enrica Direll)
Alberto Farnese ...
Poldo
Flora Lillo ...
Flora
Philippe Hersent ...
Mario La Torre
Nerio Bernardi ...
L'avvocato Rossi
Virgilio Riento ...
Il dottor Marini
Emilio Cigoli ...
Il direttore della prigione
Olga Solbelli ...
La madre superiora
Ignazio Balsamo ...
Un poliziotto
Franca Parisi ...
Una soubrette
Oscar Andriani ...
Un avvocato
Rina Franchetti ...
Una detenuta
Silvana Jachino ...
La detenuta bionda
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Storyline

Guido Carani, an engineer of noble descent, has just lost his son born to him by a chorus dancer, who, desperate, has become a nun. After a while he also loses his wife and daughter in a boating accident. Poor Guido is in despair, but soon he meets Lina, a woman who is a dead ringer for Luisa. Written by Salvatore Santangelo <pappagone2@libero.it>

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

Release Date:

6 April 1955 (Italy)  »

Also Known As:

The White Angel  »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Follows I figli di nessuno (1951) See more »

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User Reviews

 
The White Angel
30 December 2011 | by (Portland OR) – See all my reviews

I'd already had my fill of Matarazzo, but I watched this one -- a sequel to NOBODY'S CHILDREN -- just out of obligation to finish what I started. But this one was a step up. It picks up where its predecessor left off, and piles on a whole new series of tragedies, including an almost hilariously cruel boating accident. Things get even weirder when Sanson appears as a doppelganger character, and Nazzari gets obsessed with her, VERTIGO-style (and takes the opportunity to impregnate her for the third time in as many movies). Where this film surpasses Matarazzo's previous works is in the more heightened cinematic stylization and a somewhat deeper exploration of character psychology. There are actually some really good scenes here. It's still pretty soapy, and there are a few dull spots, but overall this is a "high 7" as opposed to the "low 7" for the NOBODY'S CHILDREN and TORMENTO.


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