7.7/10
61
5 user 1 critic

Addio Kira! (1942)

After having been captured in a Crimea during a failed attempt to flee overseas, Leo returns in Petersburg for Kira.

Writers:

Anton Giulio Majano (adaptation), Anton Giulio Majano (dialogue) | 2 more credits »
Reviews
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Alida Valli ... Kira Argounova
Fosco Giachetti ... Andrej Taganov
Rossano Brazzi ... Leo Kovalenski
Emilio Cigoli Emilio Cigoli ... Pavel Sjerov
Giovanni Grasso Giovanni Grasso ... Tishenko
Silvia Manto Silvia Manto ... Mariska
Gioia Collei Gioia Collei ... Acia Dunaev
Lamberto Picasso Lamberto Picasso ... Il capo della G.P.U.
Guglielmo Sinaz Guglielmo Sinaz ... Morozov
Cesarina Gheraldi Cesarina Gheraldi ... La compagna Sonja
Sennuccio Benelli Sennuccio Benelli ... Saska
Annibale Betrone Annibale Betrone ... Vassili Dunaev
Mario Pisu Mario Pisu ... Victor Dunaev
Claudia Marti Claudia Marti ... Lidia Argounova
Evelina Paoli Evelina Paoli ... Galina Petrovna Argounova
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Storyline

After having been captured in a Crimea during a failed attempt to flee overseas, Leo returns in Petersburg for Kira.

Plot Summary | Add Synopsis

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Details

Country:

Italy

Language:

Italian

Release Date:

4 November 1942 (Italy) See more »

Also Known As:

Adio Kira See more »

Company Credits

Production Co:

Era Film,Scalera Film See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Connections

Follows Noi vivi (1942) See more »

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User Reviews

 
The best of Ayn Rand based films from her best novel
16 January 2015 | by ahicks-2See all my reviews

This is a splendidly produced and directed allegory of Mussolini regime authoritarianism and patron-clientelism, plus then universal patriarchy, in the ostensible terms of a critique of the early Soviet regime powerfully performed -- charismatically by the young Valli and Brazzi. Rand's libertarian idealism engaging their original, biographically grounded authoritarian foils, rather than fantastic conceptions of Progressive Liberalism, yields rich, illuminating drama.

Especially striking to many contrails will be acquaintance with a Valli far more radiant than The Third Man's leading lady and the Brazzi whom the Brazzi of Summertime and South Pacific caricatured.

The film is as strikingly feminist Mizoguchi's Osaka Elegy, Cukor's 1940s Hephburn-Tracy films, or Sturges' Palm Beach Story.


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