Complete credited cast: | |||
Sophia Loren | ... | Adriana De Mauro | |
Richard Burton | ... | Cesare Braggi | |
Ian Bannen | ... | Antonio Braggi | |
Barbara Pilavin | ... | Adriana's Mother | |
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Renato Pinciroli | ... | Dr. Mascione |
Daniele Vargas | ... | Don Liborio - Lawyer | |
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Sergio Bruni | ... | Armando Gill |
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Ettore Geri | ... | Rinaldo |
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Olga Romanelli | ... | Clementina |
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Isabelle Marchall | ... | Florist (as Isabelle Marchal) |
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Riccardo Mangano | ... | Dr. Carlini |
Annabella Incontrera | ... | Simona | |
Rest of cast listed alphabetically: | |||
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Antonio Anelli | ... | Giacomo Puccini |
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Luca Bonicalzi | ||
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Francesco Lauriano | ... | Lawyer assistant (as Franco Lauriano) |
Adriana De Mauro loves Cesar Braggi, but Cesar, honoring his father's dying wish, allows his brother, Antonio, to marry Adriana. As fate wills, Antonio dies in an automobile accident. Adriana's mourning for Antonio ends when Cesar steps in to rekindle her lust of life. Soon, Adriana begins having dizzy spells. Cesar helps her to a specialist, and the diagnosis is not good. She has an incurable disease. For the rest of their time together, Cesar woos Adriana and eventually proposes to her on a gondola. Yet, for some reason or other, Signora De Mauro, Adriana's mother, is not pleased with the relationship and argues bitterly with Cesar. Written by alfiehitchie
Vittorio de Sica's last film is a delicate realisation of one of the Nobel Prize winner Luigi Pirandello's most sensitive and deeply human stories. It's a story of love with infinite tenderness and pain and equally infinite beauty, and all this, de Siva manages to put on screen in as restrained and perfectly controlled direction as Joseph Heifetz did in his rendering of Anton Chekhov's "Lady with the Dog" in 1959. It's precisely the same delicacy here (with equally heartfelt music by Manuel de Sica) but in colour and as beautifully operatic settings as in Luchino Visconti's "Senso". To this comes above all Sophia Loren's acting and Richard Burton's, for once remarkably controlled, until the very last scene.
This film has been rather brushed aside and neglected as too non-Vittorio de Sica to be taken seriously, but it's time to revise and give a faire appraisal of its qualities. Forget all his earlier films, all his black-and-white neorealism and all the war movies and take a look at this as something entirely different. This is a human story of bleeding hearts set before the first world war made a beautiful world disappear and at the pinpoint of death.
It has so many qualities, and not the least one is the mere cinematography, every scene being like a beautiful Italian painting, every human detail mattering including the gossiping servants, the scenes with the boy and the heart-rendering naivety of Ian Bannen, for once in a role completely void of any meanness. You have never seen him like this in any other film.
My favourite scene is when Sophia for the first time breaks her isolation after the loss of her husband, when Cesare has urged her to leave her closed-up existence and go out, while she refuses, but afterwards anyway goes up to the terrace, breathes some air and almost disappears among the laundry blowing in the wind...
I was always impressed by every Vittorio de Sica film I ever saw, but I am not exaggerating when I confess that I was never more impressed by him than in this one, mainly for its absolutely convincing humanism.