Signore & signori

Officially this movie contains three comic episodes, but in my opinion this is nonsense.

There are three dramatic episodes, the second in particular is of absolute sadness, while the third is deplorable.

People's lives are being destroyed by a heartless society that puts appearance first, regardless of the happiness of individuals.

The only thing you can do is surrender to this overwhelming force and accept your place in a society of falsehoods and masks.

The entire film had a farcical quality and was generally comical enough to hold my interest, but something deeper in the second vignette began to bubble up to the surface. There was a longing, not quite a sadness, but an extremely emotionally complex situation where you can sympathize with everyone and all points of view. I feel like I was pleasantly fooled. I expected a burger, which would have been fine, but they brought me a steak instead.

Pietro Germi only directed 19 movies, but he was obviously very talented. I've seen a few of his other films and those were satisfyingly complex as well.

The male love interest in the second vignette was played by Gastone Moschin. He didn't strike me at first as the best choice for the role, but he executed it brilliantly. Virna Lisi is always stunning, but I didn't realize what a good actress she was until I saw the extremely sympathetic character she played, and she nailed it perfectly. Nora Ricci was top notch as the wife. She was able to very skillfully balance between an over the top shrew, and as someone the audience can feel for.

There was one other thing in the movie that I thought was great. There was a short running gag regarding the jilted wife that led into a different short running gag regarding boys making prank calls. I don't recall ever seeing anything like that before.

The very last scene with everyone gathered in the town square was quite poignant.

I definitely recommend this movie.

"Ma'am, you forgot your hat...", the excellent reply of the peasant who runs to give the bra to the "distinguished" lady who had to pay something extra besides the 5 million Italian lire, to shut his mouth and convince him to withdraw his complaint about his minor daughter. It's in episode 3 of the movie which is the best. The second best is the one with Gastone Moschin's extramarital affair with the beautiful Virna Lisi. The first episode is neither great nor bad. A bunch of exceptional actors, apart from the two already named: Franco Fabrizi, Alberto Lionello, Gigi Ballista, Beba Loncar, Nora Ricci, Patrizia Valturri. Pietro Germi, great master!

It might take an Italian background to appreciate this film. As a non-Italian viewer I found the humour (high farce) rather dull.

The film had almost no characterization, a rather muddy plot line and absolutely no emotional interest. I tuned out constantly, and was glad for distractions.

The third line of the anthology, about the sexual interest of a group of men in a young girl was particularly uncomfortable, with its pedophile themes, which Germi unpleasantly treated as though only humorous, not at all troubling.

The overall perspective was purely male — the women in the film were simply either objects of desire or impediments to desire's fulfillment.

I wouldn't bother watching this film again.

Who knew Treviso was the place to live, if you fancied a bit of good old-fashioned infidelity? The town is positively writhing in pudgy middle-aged gentlemen who drink excessively then routinely cheat on their wives and sweethearts. There are three inter-connected stories here that follow the licentious behaviour of these citizens. The first gent, "Gasparini" (Alberto Lionello) is married to the the somewhat imperious "Ippolita" (Olga Villi) and he has been claiming impotence to avoid fulfilling his conjugal duties. He confides this problem to his doctor "Castellan" (Gigi Ballista) only he doesn't expand upon the fact that this is a feint not only to deter his wife, but also to distract the physician from his interest in that man's wife "Noemi" (Beba Loncar). When "Castellan" goes blabbing about this to his café friends, though, he inadvertently plays into the hands of his rival and ends up with quite a bit of egg on his face. Meantime, henpecked bank clerk "Bisgato" (Gastone Moschin) is constantly being berated by his wife (Nora Ricci) for lacking in ambition and despite her frequent interventions is repeatedly told by his employers - relatives of "Ippolita" - that he's paid what he's worth. He's a bit naive, is poor old "Bisgato" for he has fallen in love with "Milena" (Virna Lisi) and the thrust of the best comedic elements of the film come from this man's determination to escape from what he sees as the martial yoke. Cheating is one thing, moving out - well that's something altogether different. Then finally, we meet the young "Alda" (Patrizia Valturri) whose arrival on the scene sets the cat amongst these elderly pigeons even more. That is until her father (Carlo Bagno) declares that she is but a minor, and that the police are going to be investigating charges of statutory rape. Now these men are going to have to scream for help - but whom can they run to, though? There's a great deal of music throughout this and for the most part it works well in helping to sustain the frenetic pace, the frantically delivered dialogue and the almost slapstick nature of these men"s behaviour, adventures and peccadilloes. Along the way, the storylines shine an humorous light on many of the stereotypical attitudes that prevailed amongst the permanently horny menfolk and amongst their equally stoic, and often quite relieved, spouses. Sex is never far from the plot, neither is jealousy nor pantomime and the dynamic between Moschin and Lisi, supported by the on-form Lionello and Ricci present us with a not so subtle evaluation of the hypocrisies of modern Italian suburban life where the Christian doctrines of marriage and respect are honoured much more in the breach than the observance. There are three distinctly separate episodes here, but by the last half hour they have all melded together into something that rarely comes up for breath, and that I quite enjoyed.