The White Angel (1955)
"L'angelo bianco" (original title)

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 »

Director:

Raffaello Matarazzo

Writers:

Raffaello Matarazzo (story), Giovanna Soria (story),

Stars:

Amedeo Nazzari, Yvonne Sanson, Enrica Dyrell

Cast

Cast overview, first billed only:
Amedeo Nazzari	...	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

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 car accident. Poor Guido is in despair, but soon he meets Lina, a woman who is a dead ringer for Luisa.

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Genres:

Drama

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Details

Country:

Italy

Language:

Italian

Release Date:

6 April 1955 (Italy)

Also Known As:

The White Angel

Filming Locations:

Titanus Studios, Rome, Lazio, Italy

Company Credits

Production Co:

Titanus, Labor Films

Technical Specs

Runtime:

100 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Connections

Follows Nobody's Children (1952)

User Reviews

The White Angel

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.