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Film d'amore e d'anarchia, ovvero 'stamattina alle 10 in via dei Fiori nella nota casa di tolleranza...' (1973)

When a friend is murdered by the Facists, a melancholy farmer takes up residence in a Roman brothel as he and an anarchist prostitute plot to assassinate Mussolini.



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4 wins & 3 nominations. See more awards »
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Cast overview, first billed only:
Antonio Soffiantini 'Tunin'
Eros Pagni ...
Giacinto Spatoletti
Pina Cei ...
Madame Aïda
Elena Fiore ...
Donna Carmela
Isa Bellini
Isa Danieli ...
Enrica Bonaccorti ...
Anita Branzanti ...
Maria Sciacca ...
Anna Melato ...
Gea Linchi ...
Anna Stivala ...


Italy in the 30s. Tonino, a sad faced, freckled peasant, comes to Rome to kill Mussolini. He has anarchist connections, and his contact in Rome is Salome, a lively flapper and popular professional at the bordello where she lives. She introduces him as her cousin, giving him access to the brothel, and she helps him prepare for the assassination, scheduled a few days after his arrival. Within a day, he has fallen in love with Tripolina, one of the younger prostitutes. Tonino does the madam a favor, and, in exchange, Tripolina gets two days off to spend with him. How will this love affair, Salome's political will, and the assassination plans play out? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis


Comedy | Drama | Romance


R | See all certifications »




Release Date:

22 February 1973 (Italy)  »

Also Known As:

Amor y anarquía  »

Filming Locations:


Company Credits

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Technical Specs

Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


Prostitute: Rumba, the longer you touch it, the longer it gets.
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References The Sheik (1921) See more »


Canzone appassionata
Written by Nino Rota
Performed by Isa Danieli
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User Reviews

To live like a dog or to die like a dog?
29 April 2016 | by (China) – See all my reviews

To live like a dog or to die like a dog? It is an elemental question hovering above the head of a disaffected but weak-minded farmer Tunin (Giannini), after his anarchist friend being murdered by fascist police, he decisively joins the anarchist camp, and takes up his dead friend's cause, to kill Benito Mussolini. He arrives in Rome, and contacts his comrade Salomè (Melato), a premier prostitute in a brothel, who will assist to carry out his assassin plan. During a location scout with the unsuspecting Spatoletti (Pagni), the head of Mussolini's police division, Tunin falls for a young working girl Tripolina (Polito), will the mutually spontaneous romance spoil Tunin's determination of his action? Or, does it matter?

LOVE AND ANARCHY is Wertmüller's seventh feature, which debuted in Cannes in competition and won Giannini BEST ACTOR award. It is the second teamwork for Wertmüller, Giannini and Mariangela Melato, after THE SEDUCTION OF MIMI (1972), and they would try a third time in SWEPT AWAY (1974) one year later.

Freckle-faced, disheveled, Tunin is an honest but slow-witted countryside man, hasn't been to seaside before, he is not even a radical anarchist, but avenging the death of his friend, is the only thing he knows that can prove his worth, whether or not it is a suicidal mission. Fear is something he has to battle everyday, Giannini registers a viscerally soul-pulverising performance as Tunin, downplays his masculine charm and portrays him as a sympathetic, the salt of the earth sort, a cog in the machine, but radiates with those attributes what make human human. Mariangela Melato's Salomé, a spitfire driven by her own scores against the repressing government, is also superbly thrilling to behold, her piercing look, gravelly voice, worldly-wise flamboyance, and her unabashed camaraderie and affection towards Tunin, leaves a searing impact afterwards. A then 19-year-old Polito, a debutante in her full-fledged flapper outfit, thrusts herself into a more rational attempt to save her lover, only to no avail.

Wertmüller's resplendent depiction of the Italian brothel is certainly inspired by aesthetics of Fellini school, and her taste for music is admirably impeccable as well, whether it is classical pieces like Debussy's CLAIRE DE LUNE, or the catchy French ditty LA PETITE TONKINOISE by Vincent Scotto, together with Nino Rota's sentimentally melodious score, emotionality and vivacity are eternally among the national spirits running in the Mediterranean blood of Italian people, not even the ominous subject matter and demoralising situation can change its tonality.

Less heralded than Wermüller and Giannini's most acclaimed collaboration SEVEN BEAUTIES (1975), which earned both Oscar nominations (yes, Wermüller is the first woman who has even been nominated for BEST DIRECTOR), LOVE AND ANARCHY is no less a fine-crafted equivalent which speaks loud about its filmmakers' political slant and an outstanding melodrama can transfix its audience without compromising its thematic tragic.

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