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Un amore a Roma (1960)

A young impoverished aristocrat and struggling writer falls for the charms of an aspiring starlet, whose amoral nature and hungry curiosity drives her from one adventure to another.



(novel), (screenplay) (as Ennio Flajano)


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Cast overview, first billed only:
Anna Padoan (as Mylene Demongeot)
Engineer Curtatoni
Armando Romeo ...
Nello D'Amore
Umberto Orsini ...
Peppino Barlacchi
Maria Laura Rocca ...
Curtatoni's wife (as Laura Rocca)
Anne White ...
Renato Montalbano ...
Party Guest
Anna Glori ...
Enrico Glori ...
Curtatoni's Friend in Restaurant
Gianni Musy ...
Party Guest


As Marcello, a young impoverished aristocrat and struggling writer, puts a sudden end to his long and passionate affair with Fulvia, without losing time, he falls for Anna's charms, an aspiring starlet on the search for stardom. However, even though Anna claims that she honestly loves Marcello, her amoral nature combined with her shallow and hungry curiosity which drives her from one adventure to another, will inevitably fan Marcello's jealousy. Eventually, Anna's periodic infidelities will soon throw Marcello into the arms of another woman as a remedy to this insufferable situation, as the injured writer swears to leave her for good. But is Marcello willing, or better yet, capable of keeping his promise? Written by Nick Riganas

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Drama | Romance


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Release Date:

1 August 1962 (France)  »

Also Known As:

Un amor en Roma  »

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Technical Specs


Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?


In the final scene when Marcello drives Anna back to the theater after he kicks her out of his house, he looks as if he is going to park his car perpendicularly to the exterior wall of his house. He needs to drive in another direction if he wants to go somewhere. See more »

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User Reviews

LOVE IN ROME (Dino Risi, 1960) ***
23 June 2008 | by See all my reviews

The plot of this little-known but very well-made romantic drama (from the generic title, one could well mistake it for just another example of teen-oriented fluff which proliferated in Italy at this time!) anticipates high-profile works by acclaimed film-makers such as Joseph Losey’s EVA (1962) and John Schlesinger’s Oscar-winning DARLING (1965). Here, the femme fatale-ish heroine (who can’t bring herself to remain faithful to her true love for very long) is played by luscious French starlet Mylene Demongeot – in what is probably her most significant role; the hero by American Peter Baldwin, whom I best recall from THE GHOST (1963) – one of the better examples of Italian Gothic Horror.

As with the afore-mentioned EVA, the heroine has set her sights on a movie career: however, she only seems to be able to secure parts in low-brow peplums (of which Demongeot herself made a few!)…and, amusingly, one of the country’s foremost film-makers – Vittorio De Sica – turns up in a cameo as the flustered director of one of them!! Still, the real protagonist here is Baldwin – who, being an essayist, is made to provide first-person commentary to smooth over occasional gaps in the narrative (the events occur over a number of months at least); in fact, he’s himself involved with two other women during the course of the film – Elsa Martinelli (the film even begins with the two having a row at night in Rome’s famed Piazza di Spagna) and Maria Perschy (who happens to be the intelligent but virtuous daughter of a friend of Baldwin’s father, a lecher who numbers Demongeot among his flings!). Though given obviously subsidiary roles, both Martinelli and Perschy play flesh-and-blood characters rather than mere stereotypes (frustrated with Demongeot’s capricious nature, at one point the hero proposes to upper-class Perschy but is unable to follow it through); the cast also includes Claudio Gora (appearing as Perschy’s father) and, as two of the heroine’s copious conquests, Jacques Sernas and Umberto Orsini.

While the film is adult, perceptive and generally absorbing, it’s not quite in the same league as, say, the comparable work of Michelangelo Antonioni: its main flaw in this regard has to do with the contrived plotting of the latter stages, which renders the whole slightly tiresome by the end; on the other hand, the lighting (alternately gleaming and shadowy) is exquisite throughout – giving LOVE IN ROME not only a pleasingly polished look but a genuine sense of style. Incidentally, given Risi’s reputation for caustic humor, one welcomes the De Sica incident I referred to earlier amid all the gloom, or the subtle yet side-splitting image of a fat middle-aged man apathetically smoking and gulping down food (simultaneously) at a party while Baldwin is frantically trying to reach Demongoet on the phone; there’s also a cute in-joke, wherein the aspiring-actress heroine says she had already appeared in a film called POVERI MA BELLI (1957) – directed by none other than Dino Risi himself! – but that her part had ended up on the cutting-room floor!

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