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Title: I Vitelloni (1953)
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| Cast overview, first billed only: | |||
| Franco Interlenghi | ... | Moraldo Rubini | |
| Alberto Sordi | ... | Alberto | |
| Franco Fabrizi | ... | Fausto Moretti | |
| Leopoldo Trieste | ... | Leopoldo Vannucci | |
| Riccardo Fellini | ... | Riccardo | |
| Leonora Ruffo | ... | Sandra Rubini (as Eleonora Ruffo) | |
| Jean Brochard | ... | Francesco Moretti | |
| Claude Farell | ... | Olga | |
| Carlo Romano | ... | Michele Curti | |
| Enrico Viarisio | ... | Signor Rubini | |
| Paola Borboni | ... | Signora Rubini | |
| Lída Baarová | ... | Giulia Curti (as Lida Baarowa) | |
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Arlette Sauvage | ... | La sconosciuta del cinema |
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Vira Silenti | ... | Gisella |
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Maja Niles | ... | Caterina (as Maja Nipora) |
Fausto Moretti, having seduced Sandra Rubini, the sister of his friend and companion Moraldo Rubini, is forced to marry her. After their honeymoon, he takes a job as a salesman of religious objects in a small shop. He isn't changed by his marriage and still looks for women, with his friends, when and where they can find them. He even tries to seduce the wife of his boss and is fired. After each episode, Sandra forgives him. He and his friends of similar temperament are content to be idle, chase girls and leave the work and job-hunting to others. After spending the night away from home with a girl, Sandra cannot forgive anymore and runs off with their child. Fausto and his friends search all over for them, fearing the worst. Written by Les Adams <longhorn1939@suddenlink.net>
I think that the only other user to have commented on this film may have missed some of the point. The actions of the characters are not hard to understand. Fausto is a womaniser because he does not take love and its attendant responsibilities seriously. Alberto and Riccardo booze and smoke and hang around because those are the roles designated to some men in adult gangs of this kind. Moraldo sees Fausto's womanising and is torn between loyalty to the camaraderie of the group and to his friend and love for his sister, resulting in him helping Fausto to protect Sandra from the truth.
With regards to the lack of character definition of the characters, I don't think that this should be seen as a problem. Their inability to escape the attraction of a casual life robs them of character and their love of the gang robs them of individuality. The interchangeability of their looks and the swapping of facial hair styles illustrates the dynamics of a gang - shared vocabulary, shared likes and dislikes, playing off each other.
I think that this is a perfect distillation of the aimless lives of adult males, unable to break away from the gang. Whether this is Fellini's best or not, it is a very affecting study of small-town ennui and male relationships.