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Le ragazze di San Frediano (1955)

6.7
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Ratings: 6.7/10 from 82 users  
Reviews: 2 user | 2 critic

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Title: Le ragazze di San Frediano (1955)

Le ragazze di San Frediano (1955) on IMDb 6.7/10

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Cast

Cast overview, first billed only:
Antonio Cifariello ...
Rossana Podestà ...
...
Marcella Mariani ...
Gina
Giulia Rubini ...
Luciana Liberati ...
Loretta
Corinne Calvet ...
Adriano Micantoni ...
Gianni Minervini ...
Aldo, the barman (as Giovanni Minervini)
Sergio Raimondi ...
Gianfranco, Silvana's fiancé
Mitzi Roman ...
Mitzi, Bice's assistant
Alberto Archetti
Ada Bartolucci
Boris Cappelli ...
Boris, Bob's assistant
Cesarina Cecconi
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Release Date:

11 March 1955 (Italy)  »

Also Known As:

The Girls of San Frediano  »

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Version of The Girls of San Frediano (2007) See more »

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User Reviews

 
An Hilarious neo-realist comedy with Brains courtesy of Maestro Zurlini
31 January 2001 | by (Los Angeles, CA) – See all my reviews

Zurlini's first film is already his first superlative-worthy masterpiece, a fantastically perceptive neo-realist comedy beautifully shot by the legendary Gianni di Venanzo in superpoetic, perfectly contrasted, deep-focus, state of the art mid-'50s black and white. It depicts the wiles and seduction techniques of a working class Don Juan named Bob (after Robert Taylor) as he goes around trying to make full use of his attractiveness to women, attempting to balance unscrupulous behavior and a need for freedom with cultural pressures and a relatively soft heart. Needless to say, he ends up biting a little more than he can chew on and farce makes its entrance, Italian style. There aren't many films that keep a smile on your face from beginning to end simply because there's no need to cut through some thick hypocritical B.S. to get to the essentials, the 'truths,' a film universally valid about almost every observation that it makes--Zurlini's "Girls of San Frediano" is one of them. Zurlini's art is based on his own poetic variation on the moral imperatives of neo-realism, firmly rooted in the significance he gives to ambiguous reality above any film-editing that pins things down to one interpretation, the way 99.9% of Hollywood films and European Cinema-of-Quality films were made, always telling you exactly what to think, in case you happened to have any doubts. `The Girls of San Frediano'manages to be accessible and amusing to almost anyone without sacrifcing wit in the process. The cultured wit of Zurlini turns the film into a psychological study of human vanity in action worthy of Rohmer, Bunuel, and Fellini, captured in all its essentials and held up for examination, interpretation, and true enlightenment.


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