Gestern, heute und morgen

Marcello Mastroianni and Sophia Loren star in three stories about - well, men and women - in "Yesterday, Today, and Tomorrow," a Vittorio de Sica film.

The stories vary, with the two stars playing roles that show off their different talents. All three of the stories showcase one of Loren's great talents - her awe-inspiring beauty.

I was lucky to have seen this in Italian with subtitles. The Italian language is so beautiful. I loved hearing it spoken and to see the Italian scenery along with it.

The first story is about a woman who keeps getting pregnant to avoid going to prison for not paying for furniture she purchased. She ends with 7 kids and a husband so worn out he can barely walk. Meanwhile, with each birth, she becomes more beautiful. It's either the longest story or it went on the longest - it's not the most interesting of the three.

The second story involves a rich woman with no regard for anyone but herself and her money, even though she talks a different game entirely to her new boyfriend as they're driving. She keeps bumping into people with her car. When she lets the boyfriend drive, he crashes the car rather than a hit a child, and she has a fit. A real nasty piece of work.

The third story is really the best - Loren is a high-class prostitute who befriends a young man studying for the priesthood. He's staying with his vicious grandmother in the apartment across from hers. The grandmother flings insults at Loren. Meanwhile, one of Loren's steadies, Mastroianni, can't get to first base with her because she's so distracted. This vignette is famous for Loren's hot striptease, which she repeats for Mastroianni again in 1994's "Pret a Porter." Marcello Mastroianni and Sophia Loren are excellent in all of their roles, set against the beauty of the Italian locales. Loren is gorgeous, in fact, beyond gorgeous, particularly in the last sequence. Even today, she manages to dazzle. There's something about her that no American actress can even approximate.

This film may have been a little overrated in its day, but it is certainly well worth seeing.

1963's "Yesterday, Today and Tomorrow" was, like the previous year's "Boccaccio 70," another anthology feature, this time featuring Sophia Loren with her most frequent leading man, Marcello Mastroianni, starring in all three stories for director Vittorio De Sica. In "Adelina" they are a married couple living in a poverty stricken section of Naples, where she must dodge arrest for nonpayment on furniture by way of pregnancy; "Anna" finds her a bored socialite wed to an often absent industrialist who ultimately chooses wealth over love to Mastroianni's disappointment; and in "Mara" she plays a high priced call girl who vows to spend a week without sex to convince the young man next door to follow the call of the priesthood. Her final reel striptease remains the stuff of legend but is quite tame today, the actress considering it a most pleasing, natural performance. As a 1963 Oscar winner as Best Foreign Film it was a huge success, with both stars reuniting with De Sica for their next picture, "Marriage Italian Style."

There is such a delightful playfulness to this trio of tales about relationships between men and women in Italy. Sophia Loren is in three different roles – a poor mother in Naples who keeps getting pregnant and having children to postpone being jailed for failing to pay debts on her furniture, a rich woman in Naples who has had a one-night stand while her husband is away at a conference and has picked him up the following day in her Rolls-Royce, and a high-class courtesan who does business out of her apartment overlooking Piazza Navone in Rome, attracting the attention of a young man studying to be a priest. I wouldn't say Loren has exceptional range, but she does turn in a solid performance, and plays feisty, haughty, seductive, angry, and bemused pretty well, all while being quite entertaining. Marcello Mastroianni is her counterpart in each tale (one of the clients in the last, not the young man), and is similarly engaging. It was nice to see him so light on his feet as he moved around in that last tale; his expressions were over-the-top (in a good way), and it was funny to see him ask Loren to dress up as a schoolgirl, and then watch her reaction.

The movie feels quintessentially Italian, as the characters are animated and highly expressive. There is also a feeling of genuine humanity and community. There is an honesty here, as each of the stories quite openly acknowledges sexual urges in both men and women as being natural and a positive thing, which is quite refreshing. At the same time, it remains decent and acknowledges a sense of higher morality. In the first tale, Loren's character is tempted but does not sleep with her brother-in-law when her husband can't get her pregnant again, accepts going to jail, and talks to the prisoners there without an ounce of judgment about why they're there. In the second, Mastroianni's character realizes how shallow Loren's is when she's more concerned about damage to her car after they nearly run over a child. In the third, Loren's character realizes that despite an antagonistic relationship with the young man's grandmother (played fantastically by Tina Pica), she has common ground with her, and must persuade the boy to stay on his path. How nice it is that director Vittorio De Sica shows us that these things – lust and morality – can exist side by side, perfectly well.

Italian anthology comedy starring Sophia Loren and Marcello Mastroianni. It's often cited as one of the best films of both stars. There are three stories involving different couples, each played by Loren and Mastroianni. The first has Sophia as a wife who keeps getting pregnant to avoid a jail sentence. It's an amusing story, although it goes on a little long. The second story is about a rich married woman taking a drive with her lover. The segment is pretty dull as it builds up to its punchline. But I suppose that was the point, to make you thing this was an inane soap opera story about whether this woman will choose fortune or love. The question is answered humorously enough but this is still the weakest story in the film. The third story, and the one for which the movie is probably most famous, has Sophia playing a prostitute. Her neighbor's grandson, about to become a priest, falls for Sophia and she must try to set him back on the right path. But, in doing so, she makes a vow that frustrates lustful client Marcello. Sophia's never looked sexier than here and her striptease is legendary.

Of the three stories, the last is the most entertaining but none are bad. Sophia is beautiful and enchanting. She and Marcello are both fun in every segment. It's an enjoyable film, though probably much more so if you are a big fan of Italian cinema to begin with.

YESTERDAY, TODAY AND TOMORROW is a romantic comedy, which consists of three stories set in different parts of Italy. All three stories are framed in a romantic farce, which examines relationships through common life issues, such as poverty, adultery, sex and religion.

Stories about three very different women and the men they attract.

Adelina sells black-market cigarettes in Naples. Her husband is unemployed. She tries to avoid a jail sentence at any cost.

In Milan, Anna drives a Rolls, is bored, and picks up a writer, who is her lover. She talks dreamily of running off with him until he dents her car. After that, she shows her true face.

Mara, who works as a prostitute from her apartment in Rome, turns the head of a naive seminarian. After talking with his grandmother, she wants to help a young man, while her nervous client from Bologna impatiently waiting.

A male protagonist is exposed to tragicomic sobering, while a female protagonist is in a kind of inner conflicts, in each of the three stories. That's the point. The different characters of people are exposed to very strange situations, through which they question their relationships.

The scenery is very impressive, especially in the first story. That Neapolitan atmosphere in explosion of colors in a narrow streets is truly remarkable. The dialogues are, here and there, trivial and empty. Humor is somewhat forced, but it's pretty luscious. Characterization is not bad at all.

Sophia Loren (Adelina Sbaratti, Anna Molteni and Mara) is a temperamental and brave housewife, an elegant and selfish rich woman and a sensitive prostitute who would talk about morality. Yes, Ms. Loren looks divine in each of these women.

Marcello Mastroianni (Carmine Sbaratti, Renzo and Augusto Rusconi) is a fertile, but useless husband, a cautious lover and an impatient client, who can not accept the fact that he's in love with a beautiful prostitute. Mr. Mastroianni is mostly a muddled and confused character in each of the three stories.

I will say that this is another successful commedia all'italiana