Pane, amore e fantasia

With a grandeur typical of much of the rest of this light-hearted romance, the new police chief "Antonio" (Vittorio De Sica) arrives at his new, rural, command on the bus. He has hardly hung up his hat before he takes a bit of a shine to "Bersagliera" (Gina Lollobrigida) who's nickname "Frisky" clearly demonstrates how totally unsuitable any relationship between the two might be. Anyway, she has her eyes on his dashing young sergeant (Roberto Risso). His life is further complicated when the local midwife "Annarella" (Marisa Merlini) begins to fall in love with him, unaware that she has a few secrets of her own that might compromise everything. It's quite difficult to précis the plot without making it look like a predictable soap-style love triangle, but the characterisations here and the quick-fired dialogue pack quite a lot into ninety minutes with Lollobrigida at her most natural in front of the camera. Except, that is, when they are on the bikes in front of what is clearly a moving background of somewhere completely different! There's plenty of chemistry here, some fun and the practically minded "Frisky" seems ultimately more bothered about her mule than either of her men. It's a film that slightly exaggerates normal village life, and at times is just a wee bit contrived, but it's still entertaining to watch.

Pane, Amore e Fantasia is a light, romantic comedy of manners that seems to have been resurrected from the fascist era, when, just like in Portuguese cinema during the Estado Novo, everyone was poor but honest, happy and God-fearing. The comedies exuded a social peace and collective well-being that only propaganda could create.

However, this is a post-war film, produced in the era of neo-realism. Vittorio de Sica himself, although behind the camera, had already made Sciusciá, Bicycle Thieves and Umberto D. What a contrast with the folkloric and innocent optimism of this Pane, Amore e Fantasia! Never has a title summed up a film so well.

And yet, the film also has virtues, despite its simplistic anachronism. Gina Lollobrigida plays a magnificent character, with a wild sensuality. The closed environment of the small provincial town, with its old men who know everything and control everything about other people's lives, has a delightful charm and irony, reminiscent of the best of Pagnol.

It is a light, nostalgic work, but certainly enjoyable to watch, which won the Silver Bear in Berlin and was even nominated for an Oscar for best original screenplay. A luminous island of peace and love, amidst the shadows of post-war Italian neo-realism.

A beautiful naive Italian romantic comedy from the 1950s.

Just take the lead actor Vittorio. Now having seen a couple of his movies on Netflix, I can only imagine how succesful and popular he must have been in Italy. And when you watch his movies you can't escape his charm. Yes the movies are mostly about love and family (the ones I've seen that is) and to some that may sound boring.

It will depend on what you like to see in movies - but that is true for any movie. So if you can dig the drama, you will have a lot of humor to enjoy too. Very down to earth and easy to watch overall. And again, the charme of the cast here is quite contagious ... if you let it.

Italian actress Gina Lollobrigida ("La Lollo") had been in a number of smaller films before this 1953 blockbuster catapulted her to international fame. The success of this rustic comedy spawned a sequel a year later: PANE AMORE E GELOSIA or "FRISKY. In BREAD LOVE AND DREAMS Gina plays Maria De Ritis, called "Pizzicarella la Bersagliera" or "Frisky" in the distributor's translation. She is a feisty country girl in southern Italy's Ciociaria area. During the course of the film she is pursued by the town's new "maresciallo" (local police chief), a lewd and lascivious woman-chaser played as only Vittorio De Sica could play lewd and lascivious, that is with great delight. At the same time Lollo is being flirtatious with the newly arrived young police officer from the north. Amorous complications ensue in what is essentially a modernized "commedia dell'arte" piece with performers of enormous appeal. The cast also includes Marisa Merlini as the midwife the maresciallo has an eye on as well. And there's the unique and marvelous character actress Tina Pica in a smaller role. Luigi Comencini directed both this film and its immediate sequel, which has much of the same cast, with great gusto.