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|Index||24 reviews in total|
An amusing, verging on wonderful film movie that is unfortunately
compromised by the dub; Loren speaks perfect English and Mastroianni - whose
beautiful voice is a star turn in itself, knew enough to acquit himself.
Instead we get some pretty unconvincing American Speakers.
Adelina of Naples. This segment of the film is a fictionalized take on true events 10 years earlier. Lauren is the principal breadwinner for her family, selling black market cigarettes and committing other illegal acts to make ends meet. To avoid jail, she merely need remain pregnant which her semi-employed husband Carmine (Mastroianni), is expected to chip in with. The rub however, is that the shoe factory next door has, for several years, kept the poor man awake so that after 8 or so other siblings, he simply is not the race horse he used to be. Chastised by his wife for his weakness, Mastroianni despairs while Adelina (almost) produces number nine with Carmine's best friend; luckily nothing happens.
Lauren's luck and the appeal processes are eventually exhausted, Adelina does go to a jail that better frankly, than the average Motel 6. Carmine, in the mean time, contacts the press and the Pope, really everyone, and finally, Sophia is sprung. During her internment, Mastroianni apparently recovers his strength and the movie ends with the certainties that he `got his thang back,' and that, at least to 1963 eyes, things in Naples would never change.
At the time the movie was lauded for its unsubtle criticism of the Catholic Church's birth control policies, policies, which it was reasoned, contributed to high birth rates, poverty, apathy and - laziness of Naples. Arguably the best segment of the movie and by far the longest.
Anna Of Milan
The weakest of the three segments, though not without charm. This segment basically has no plot whatsoever. Sophia Lauren is Anna, a rich, bored woman who has married an industrialist and has time and amore to spare, especially as her rich husband travels. A lot.
Mastroianni plays Renzo ,a writer with a curious haircut and a raincoat, a man appalled by Lauren's focus on money, yet still a man! Come on; we're talking Sophia Lauren..
One fine Sunday, the pair travel to the country in her new Rolls (this episode is almost a commercial for that particular brand) Renzo passing the time chiding Anna for her materialism in between bouts of desire. Lauren insists that she wants to go somewhere, anywhere to get away from all `this.' Really she insists, she could give up money at any time and as a token of her good faith on this point - allows Mastroianni to drive.
Eventually, overwhelmed by so much woman and horsepower, Renzo crashes, almost killing a child selling flowers on the roadside. The Rolls' in flames, Anna flips out, her only concern the car, she even insists that use HIS clothes to douse the flames!
Returned to her senses by the crash, Anna shows through her anger that her true love is the Lira, especially when she rides off into the Milanese sunset with another swinger - a short guy in a Lancia. The Rolls abandoned for repairs on the roadside, Renzo buys some flowers from the almost run-over little flower peddler who asks if it's `really a Rolls?'
The day's stock results are announced on the Roll's radio as Mastroianni walks bemusedly out of camera, (very effective shot) discarding the flowers on the roadside. While too obvious - `money is the poison of today,' the curious scenery and some fine acting, make this episode enjoyable, if lightweight.
Mara Of Rome
This famous episode stars Lauren as Mara, an upscale hooker and is frankly, hilarious and a treat for the eyes. What incredibly beautiful cinematography this episode employs!
There are two themes in this episode: Mastroianni's `Rusconi,' son of a wealthy industrialist from Bologna is wild about Mara - and the camera by the way is wild about Mastroianni, who is murderously handsome. Unfortunately, something always arises to interrupt his love - especially the second theme, namely: The crush on Mara of her shy young neighbor, a gorgeous young man being sent to a seminary by his tiny little grandparents who seem to want him there for his own good and just maybe, their own finances.
One comic turn after another arises to prevent Rusconi's union with Mara; on one occasion, hounded on the phone by his Father in Bologna, Rusconi insists, that he is `not an idiot,' and then reminds his Dad that you have to `bribe the minister, first. That's why it is called a bribe.' Showing great capacity as a comic actor on a level with his dramatic turns, Mastroianni really puts the 'S' in star power and is hilariously funny.
Tired of the `what next?' Mastroianni swears off Mara and says he is leaving forever. In the meantime, the self-righteous Grandma next door accuses Mara of being a common whore and home-wrecker who is ruining her young man and promises to evict her. (In reality, it was the shy young man who made a Roman roof top approach, asking Lauren if she would go to the beach with him; she is non-committal.)
Enraged by the Grandma, Lauren fires back: How can anyone judge HER - after all, she is very choosy about the men she sleeps with.
Mastroianni returns - duh! stating that he kept thinking about Mara. Finally the young man's affairs are sorted - (poor Rusconi forced into action as peacekeeper) and neighborly relations, restored. As a reward, Lauren performs a very famous (and rather tame, in fact) strip tease for Rusconi, whose by-now ruined nervous system leads to a series of hilarious faces. About to dish out the REAL reward, however, Lauren recalls she has made a vow of chastity for `just two weeks'.
This segment, while perhaps overtly addressing hypocrisy (the grandparent's) is in my opinion, really about nothing but fine acting, gorgeous faces and glorious Rome. A great moment in Cinema, and by far my favorite segment.
Yes, the stories are funny and heart-warming...all three of them. And
Sophia Loren ALMOST makes you think she's as mean as the millionairess she
portrays, talking of her 'humanity to man' while blowing all other cars
the road, bumping into them at stop signs and screaming at poor Marcello
Mastroanni for crashing the Rolls rather than hitting a
Knowing how long Sophia longed for a child, one felt great sympathy for
as she diapered her many children in order to stay out of jail. Italy had
law similar to the English' of 'pleading her belly' to which Sophia and
Marcello conform through the births of seven children.
The tale of the young priest, the prostitute and the increasingly
'client' is very well acted, and you can feel the mounting passion of poor
Mastroanni as every act gets interrupted at the worst moment.
Of course, I love looking at the towns of Naples, Milan and Rome with all the old streets 'unspoiled' by the modernization of today. Check this one out for some excellent acting in widely divergent roles for both Loren and Mastroanni. No wonder the Museum of Fine Arts has Mastroanni festivals....one for Loren is equally called for. They both act with their eyes, their mouths and their entire bodies!!!
Marcello Mastroianni and Sophia Loren star in three stories about -
well, men and women - in "Yesterday, Today, and Tomorrow," a Vittorio
de Sica film.
The stories vary, with the two stars playing roles that show off their different talents. All three of the stories showcase one of Loren's great talents - her awe-inspiring beauty.
I was lucky to have seen this in Italian with subtitles. The Italian language is so beautiful. I loved hearing it spoken and to see the Italian scenery along with it.
The first story is about a woman who keeps getting pregnant to avoid going to prison for not paying for furniture she purchased. She ends with 7 kids and a husband so worn out he can barely walk. Meanwhile, with each birth, she becomes more beautiful. It's either the longest story or it went on the longest - it's not the most interesting of the three.
The second story involves a rich woman with no regard for anyone but herself and her money, even though she talks a different game entirely to her new boyfriend as they're driving. She keeps bumping into people with her car. When she lets the boyfriend drive, he crashes the car rather than a hit a child, and she has a fit. A real nasty piece of work.
The third story is really the best - Loren is a high-class prostitute who befriends a young man studying for the priesthood. He's staying with his vicious grandmother in the apartment across from hers. The grandmother flings insults at Loren. Meanwhile, one of Loren's steadies, Mastroianni, can't get to first base with her because she's so distracted. This vignette is famous for Loren's hot striptease, which she repeats for Mastroianni again in 1994's "Pret a Porter." Marcello Mastroianni and Sophia Loren are excellent in all of their roles, set against the beauty of the Italian locales. Loren is gorgeous, in fact, beyond gorgeous, particularly in the last sequence. Even today, she manages to dazzle. There's something about her that no American actress can even approximate.
This film may have been a little overrated in its day, but it is certainly well worth seeing.
This movie is made up of three separate vignettes starring Sophia Loren
and Morcello Mastrianni playing three different couples. Each segment
differs greatly as far as their length and quality.
The first is the longest, and for me, the least interesting. It's about a woman who continues to have baby after baby after baby in order to stay out of prison for a petty crime. Considering she ultimately had 7 kids in the process, the story seems to drag on and on. She could have done it once or twice or even three times, but the skit went on and on with not nearly enough payoff.
The second is by far the shortest and is about a selfish spoiled rich brat. It's mildly interesting but that's about all.
The final skit makes the movie. If it weren't for this one, the movie might have been scored a 4 or 5. It's about a prostitute who has turned the head of a young man in training to be a priest. At the same time, Mastriani is a customer who is again and again and again thwarted in his goal of bedding Loren. It may not sound funny based on the description, but it's very entertaining and her striptease is very sexy to say the least!
My overall impression of the movie is only fair. I think that's because I am a BIG fan of the earlier Neo-Realistic films directed by DeSica. They are almost totally different from this movie--having none of the expensive production values or polished actors. However, they were simply better movies. If you compare UMBERTO D., MIRACLE IN MILAN or any of his other Neo-Realistic films of the 40s, they show the director at the top of his form. Ieri, oggi, domani just looks contrived and ordinary in comparison.
These three stories very "Italian" indeed, are full of good humour, social observation and correct atmosphere. The direction of De Sica is superb, the acting of Mastroianni and Loren is unique and in the second and third stories we recognize the subtle and superior hand of their author, the great Zavattini. The first story takes place in a very typical popular neighbourhood of Naples where a cigarette pedlar and smuggler (Sofia Loren) discovers that the way of not going to jail for failing to pay a fine, is to get pregnant over and over and giving birth to one child after another with the problems this brings to her exhausted husband (Mastroianni). The second story shows us an aristocratic Milanese rich lady who to escape her boring life gets herself a lover on a social stratum lower to hers and finishes by valuing her Rolls Royce car more than her lover. This is perhaps the not so good of the three stories because it lacks some strength in terms of plot. Finally the third story (maybe the best of the three) is sometimes delirious and hallucinating in its very funny rhythm (Loren's acting is fabulous here) and tells us about a luxury prostitute living near the Piazza Navona in Rome who nevertheless has a soft heart and with whom a neighbour young seminarist falls in love while she plays a game of pull and let go with one of her clients who is anxious to take her to bed most unsuccessfully. This story has a surprising end and a fascinating scene of strip-tease (incomplete of course). You'll have a very amusing time watching this movie.
*** This review may contain spoilers ***
YESTERDAY, TODAY AND TOMORROW. Three short films about sex starring the two top Italian stars of the day, Sophia Loren and Marcello Mastroianni, and directed by Vittorio De Sica. In the first part Sophia plays a pregnant woman who may have to go to prison for selling contraband on the street. However, after speaking to a friend who is a lawyer, she and her husband find that the government cannot send a pregnant woman to prison. So, Marcello has his work cut out for him as soon as the new baby is born. Very soon she is pregnant again, then again, and again, seven times in all, and keeping her out of jail the whole time - that is, until Marcello runs out of "gas." Very charming and funny episode. In the second episode Marcello is having an affair with married Sophia, playing a completely self serving, rich snob. Almost the entire film takes place in her Rolls Royce as they head for another sexual escape while the rich husband is away. That is, until they have a car accident. The third episode, the most famous, is the story of a high priced call girl, Loren, who is trying to arrange time for her best john, Mastroianni, who also is in love with her. In the house next door, however, is a young man who is studying to be a bishop and is questioning his path in life, particularly after he watches Loren, in a skimpy lacy outfit, watering her plants on the outside deck. The boy and his mother, a very self-righteous woman who abhors Loren's character, keep getting in the way of Marcello's time with Sophia. When things are finally worked out with the boy and his mom, Sophia does her famous strip for Marcello, who is sitting on her bed, bouncing up and down in delight in response to Sophia's every move. It's a very funny scene, and the episode isn't bad, but of the three, the first one, the pregnant woman story, is the most entertaining. All three stories had something interesting to say about sex in Italy of that time, in particularly the second story about the rich woman having the affair, but it was the least entertaining of the three. The thing that was good about all of them was how different the six characters created by Sophia and Marcello were. Vittorio De Sica's direction was superb. The music and cinematography added a lot to the wonderful atmosphere, particularly in the first episode. If you're unfamiliar with Loren's or Mastroianni's Italian output this is a good one to take out for a first spin, especially if you've never seen Sophia in anything other than her Hollywood films.
This is one of the most beautiful comedies I've ever seen, it's simply priceless, three stories are very different but taken together they create one wonderful movie. Sophia and Marcelo in each of three stories give superb acting and each character of this 3 that they play in the movie is different from the other as it can be. I can warmly recommend this movie to anyone who like original comedies and i am sure that you will enjoy as i was.And at the end i can say only that i am sorry because they don't make movies as they use to made. I can compare this movie with some comedies of Billy Wilder or Frank Capra, because on the end of it, you have a warm feeling around your heart and you now that this movie is one of good ways to spend an evening.
This very enjoyable film may be a let down for someone expecting the
heights of De Sica's Neorealist masterpieces like The Bicycle Thief or
Two Women. However it is very funny in parts and is pointedly critical
of Italian society in the boom years of the 1960s. Also Sophia Loren
and Marcello Mastroianni are absolutely stunning to watch.
For people interested in Italy it is a fascinating commentary on the country that can border on stereotype. Naples (De Sica's hometown) is warm and happy and filled with clever types ready to outwit the system and find their own way to happiness. Milan is cold, rich, and callous. Rome is dominated by the Catholic church and the State with plenty of hypocrisy and corruption. But De Sica finds some humor in all of this.
I found it a little too sentimental but well worth watching. I wish a better (undubbed) print were available. De Sica's career was given a boost by the success of the movie and he would continue to make more great films like The Garden of the Finzi-Contini's and the underrated A Brief Vacation that focus on the injustices of the State and the hardships faced by working people.
Italian anthology comedy starring Sophia Loren and Marcello
Mastroianni. It's often cited as one of the best films of both stars.
There are three stories involving different couples, each played by
Loren and Mastroianni. The first has Sophia as a wife who keeps getting
pregnant to avoid a jail sentence. It's an amusing story, although it
goes on a little long. The second story is about a rich married woman
taking a drive with her lover. The segment is pretty dull as it builds
up to its punchline. But I suppose that was the point, to make you
thing this was an inane soap opera story about whether this woman will
choose fortune or love. The question is answered humorously enough but
this is still the weakest story in the film. The third story, and the
one for which the movie is probably most famous, has Sophia playing a
prostitute. Her neighbor's grandson, about to become a priest, falls
for Sophia and she must try to set him back on the right path. But, in
doing so, she makes a vow that frustrates lustful client Marcello.
Sophia's never looked sexier than here and her striptease is legendary.
Of the three stories, the last is the most entertaining but none are bad. Sophia is beautiful and enchanting. She and Marcello are both fun in every segment. It's an enjoyable film, though probably much more so if you are a big fan of Italian cinema to begin with.
Two great performers of the Italian screen, Marcello Mastroianni and
Sophia Loren, star in this earthy three-episode film, directed by
Vittorio De Sica and tailor-made for the two stars. The success of this
film led to the making of MARRIAGE, Italian STYLE a year later. In the
first of the three comic vignettes Sophia is a black marketeer in
Naples who discovers that a pregnant woman cannot be put in jail and so
tries to maintain perpetual pregnancy. Poor fatigued husband
Mastroianni is barely up to the task, however, and this fact provides
much of the humor. The middle episode, the least effective, has Loren
as a Milanese rich-bitch of liberal attitudes but who likes to plow
into other people's cars. In the last episode Sophia is a Roman
prostitute, Mastroianni is her sex-crazed customer. Part of the story
is about how she unwittingly almost destroys the vocation of a
seminarian living in an apartment across the terrace. Seminarians,
Addendum: in 2005 a new DVD release in letterbox format allows us to see the movie in its original wide-screen CinemaScope ratio. It has the original Italian language version with an English-tract option and a subtitle option.
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