Dora Nelson

Dora Nelson is a delightful gem from the golden era of Italian cinema that blends identity, satire, and charm into a clever dual-role comedy. Though released in 1939, the film still radiates freshness through its witty screenplay and magnetic central performance.

At the heart of the story lies a fascinating contrast between glamour and humility, illusion and authenticity. The dual roles played by the lead actress are not only technically impressive but serve as a mirror reflecting the absurdities of celebrity culture - a theme that remains timeless.

The direction balances farce and finesse, offering moments of lighthearted humor alongside subtle critique. The supporting cast adds richness, but it's the dual performance that anchors the film, switching effortlessly between diva and doppelgänger with flair and nuance.

While the pace reflects its era, Dora Nelson holds up as a smart and surprisingly reflective comedy that explores how identity is both constructed and perceived. A playful classic that's worth rediscovering.

Amiable sophisticated comedy-drama about mistaken identity (following the proved Hollywood formula of the 30s) which I would never have watched had it not turned up on late-night Italian TV preceded by a screening of Otto Preminger's swan song THE HUMAN FACTOR (1979) and followed by a documentary on celebrated Italian film-maker Luchino Visconti!

The plot concerns a haughty former aristocrat who has contrived to become a film diva and her working-class look-alike who cross paths, leading to several delightful complications. Involved in the proceedings are the actress' husband who falls for the commoner when she is asked to impersonate her (for the sake of his daughter's impending marriage) after the actress flees with a Prince (who is nothing but a con-man after her fortune, in league with her first husband who has feigned death in a train accident!). As you can see, it's pretty convoluted - but it's all tied up nicely by the end...except perhaps the fate of the girl's middle-aged suitor who follows the aristocrat all the way to Cannes (with a wisecracking taxi-driver in tow!) thinking her to be unfaithful. It's also interesting for providing a rare behind-the-scenes look at pre-Neo-realist Italian cinema, where such light fare was the order of the day.