A group of Italians take a flight to Sweden - but among them there are the tourists, and the immigrants. Two bourgeois couples choose a typical Italian restaurant by its name, 'La Trattoria... See full summary »
Matteo Scuro is a retired Sicilian bureaucrat (responsible mainly for the writing of birth certificates) and a father of five children, all of whom live on the mainland and hold responsible... See full summary »
Benedetto is a child who came out of an accident uninjured on his first communion's day. The people of his village attribute that to a miracle and made him undergo a strict religious ... See full summary »
In the first episode, Quirino tries to conquer Gabriella, lover of Alvaro, with the complexity of shyness. In the second part, Prof. Beozi, in order to avoid a scandal, ends up in a raid of... See full summary »
This so-so portmanteau movie has value mainly for fans who long to see the sublime Silvana Mangano at the crossroads of her career. In the weaker sketches (notably Luigi Comencini's vulgar and interminable Eritrea) she comes across as the rather tawdry sex-symbol of countless dodgy international epics in the 50s, all produced by her husband Dino de Laurentiis. In the stronger episodes (particularly those two directed by uber-aesthete Mauro Bolognini) she metamorphoses into a svelte Art Movie icon, as she would become in her films for Visconti and Pasolini in the late 60s and 70s. If there is one moment where Bitter Rice ends and Death in Venice begins, this may well be it.
In fact, the second and longer Bolognini episode is good enough to justify sitting (or, at least, fast-forwarding) through the rest of this movie. A story of two unhappily-married strangers who share a romantic 'brief encounter' at Rome airport, 'Luciana' shimmers with the delicate low-key eroticism that was Bolognini's stock-in-trade. His earlier and shorter sketch, 'I miei cari,' encapsulates his career-long obsession with all-powerful women and hapless men - a chic bourgeoise visits her ailing husband in hospital, only to berate him for failing to fulfill her sexual needs!
Two mini-sketches by a young Tinto Brass - at once pre-politics and pre-porn - are amusing but insubstantial trifles. Comencini's is unalloyed drek, predictably enough, and Alberto Sordi offers solid but unexciting support in all five sketches. It's Mangano's movie, and she swaggers away with it in fabulous black-and-white outfits designed by Piero Gherardi. (He dressed La Dolce Vita, 8 1/2 and - most unforgettably of all - Juliet of the Spirits.) As a record of one exquisitely beautiful lady and her wardrobe, La Mia Signora gives good value. As a film.... Well, this is one star who was destined for higher things!
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