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his sister running off for good with her married lover. Fausto's naive attempt to seduce Giulia results in his being humiliated and then fired by her husband. In revenge, he steals the statue of an angel in gold paint from his former employer, enlisting the loyal
Moraldo to help him first attempt to sell it to a convent and then sell it to a monk. Suspicious, both turn down the offers. Fausto ends up leaving the statue with a simple-minded peasant who sets the angel on a mound outside his hovel, caressing it.
767:, Mario Gromo argued that it was a "film of a certain importance because of its many intelligent moments, its sound portrayal of provincial life, and because it is the second film of a young director who evidently has considerable talent ... The Italian film industry now has a new director and one who puts his own personal ideas before any of the customary traditions of the trade. Fellini's is a fresh approach". "It is the atmosphere that counts most in this unusual film," wrote Francesco CĂ llari of the
364:, uncomfortably observes Fausto's womanizing as he ponders his own existence, dreaming of ways to escape to the big city. Riccardo, the baritone, nourishes unrealistic ambitions to sing and act. Alberto, the daydreamer, is supported by his mother and self-reliant sister, Olga. Vulnerable and close to his mother, he's unhappy that Olga is secretly dating a married man. Leopoldo, the aspiring dramatist, writes a play that he discusses with Sergio Natali, an eccentric stage actor he hopes will perform in it.
376:
taking the baby with her. Riccardo, Alberto, Leopoldo, and
Moraldo all join in Fausto's desperate search to trace his wife and child. When they find her at the home of Fausto's father, Francesco pulls off his belt in a rage and finally whips his son. Later, and reconciled for the present, Fausto and Sandra walk home happily and with optimism about their life together. Resolved to abandon the provincial monotony of his dead-end town, Moraldo boards the train for anyplace else (Rome), imagining his
688:, hoping to convince him to play the part of Sergio Natali, the aging ham actor. When Fellini outlined the homosexual overtones of the role, De Sica accepted provided it was written with "a great deal of humanity". In the end, he rejected the offer, "concerned about being marked as actually gay". Fellini then decided that De Sica would have been "too nice, too fascinating, too distracting" and cast
847:, Nino Rota's music was one "of the most brilliant features of the film ... The first is a soaring, romantic melody that can be made to express nostalgia, love, and the pathos of existence ... Slowed down, becomes lugubrious; with eerie figurations in the woodwinds it turns sinister. The quicksilver changes in the music support the changing moods of the story".
771:, "an intensely human and poetical atmosphere altogether estranged from the provincialism of the setting ... Fellini has something to say and he says it with an acute sense of observation ... Here is someone apart from the other young directors of post-war Italian cinema. Fellini has a magical touch." First published 31 August 1953 in the
569:, it was Pinelli brain-storming with Fellini and Flaiano who came up "with a notion the other two liked: the pleasures and frustrations of growing up in a provincial town". Under Fellini's supervision, all three together rapidly wrote the script, pooling their adolescent memories while inventing new ones.
735:
Working with several cinematographers over a six-month period, Fellini developed a predominant camera style based on slow tracking shots that "match the listless, purposeless lives" of his characters. The camera often dollies in to underscore dramatic events, most notably when Sandra falls ill at the
371:
At the annual masquerade ball, Fausto is bedazzled by the mature beauty of Giulia Curti, his employer's wife. Alberto, in drag and half-drunk, executes a surrealistic dance across the ballroom floor with a goofy carnival head made of papier-mùché. Returning home at dawn, Alberto is devastated to find
842:
reported that
Fellini, with "his volatile disposition and a desire to make a stinging film ... does certainly take a vigorous whiplash to the breed of over-grown and over-sexed young men who hang around their local poolrooms and shun work as though it were a foul disease. He ridicules them with
783:
does not have a particularly solid structure, the story is discontinuous, seeking unity through the complex symbiosis of episodes and details ... The narrative, built up around strong emotions and powerful situations, lacks solid organic unity, and at times this undermines the story's creative
356:
Unemployed and living off their parents, Fausto's twenty-something friends kill time shuffling from empty cafés to seedy pool halls to aimless walks across desolate windswept beaches. During the interim, they perform childish pranks. Taunting honest road workers from the safety of a luxury car they
375:
One evening after a variety show, Leopoldo agrees to accompany old Sergio for a walk along the seashore to discuss the merits of his play but when the actor propositions him, he takes to his heels in horror. Learning of Fausto's one-night stand with a variety performer, Sandra runs away from home,
816:
is neither commercial nor does it possess those traits that usually permit a work of art to be consecrated and defined. With a surprising and effective sense of cinema, Fellini endows his characters with a life both simple and real". Film critic GeneviĂšve Agel appreciated the maestro's symbolism:
794:
gives a graphic and authentic picture of certain aimless evenings, the streets populated by groups of idle youths ... The film is a series of annotations, hints, and allusions without unity ... With a touch of irony, Fellini tries to show the contrast between the way his characters see
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in a major role, despite the latter's reputation as box office poison, and against
Pegoraro's express wishes. Intent on playing the lead, however, Sordi didn't accept Fellini's offer until later in production. Pegoraro's skeptical distributors, far from closing the deal, demanded a clause in the
739:
With editor
Rolando Benedetti, Fellini established a rhythm in which short sequences were separated by abrupt cuts while longer sequences used dissolves. The numerous brief and disparate episodes "governed by their own internal logic" were thus held together by a particular editing pattern. A
817:"Fellini films a deserted piazza at nighttime. It symbolizes solitude, the emptiness that follows communal joy, the bleak torpor that succeeds the swarming crowd; there are always papers lying around like so many reminders of what the day and life have left behind." The film ranked 6th on
29:
315:(the director's brother) as five young Italian men at crucial turning points in their small town lives. Recognized as a pivotal work in the director's artistic evolution, the film has distinct autobiographical elements that mirror important societal changes in 1950s Italy.
367:
Back from his honeymoon and settled in with Sandra, Fausto is forced to accept a job as a stockroom assistant in a religious-articles shop owned by
Michele Curti, a friend of his father-in-law's. Incorrigible, Fausto pursues other women even in his wife's presence.
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praised the film writing "It shows all of
Fellini's unrivaled virtues -- his lyrical sense of place, his abiding affection for even the most hapless of his characters, his effortless knack for limpid, bustling composition -- and very few of his putative vices."
608:
was used in my day to define a young man from a modest family, perhaps a student â but one who had either already gone beyond the programmed schedule for his coursework, or one who did nothing all the time ... I believe the term is a corruption of the word
799:, the film proved "that Fellini is the Italian film industry's most talented satirist, and an acute observer and psychologist of human behaviour. Like any good moralist, he knows how to give his story a meaning, to provide more than just simple entertainment".
732:, the terrace of the Kursaal Hotel was the backdrop for the beauty pageant that opens the film. Accustomed to movies produced on promises, Giacosi maintained morale by ensuring that cast and crew dined in the best restaurants in the towns they visited.
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all the candor of his sharp neo-realist style, revealing their self-admiration to be sadly immature and absurd. And without going into reasons for the slack state of these young men, he indicates that they are piteous and merit some sympathy too". For
720:, the rushes served as the basis of the masquerade ball, a major sequence. With a break in production for Christmas, shooting resumed on January 15, 1953. Constrained by the shoestring budget, many scenes were shot in a natural decor. In
349:. Sandra Rubini, crowned "Miss Mermaid 1953", suddenly grows upset and faints: rumours fly that she's expecting a baby by inveterate skirt chaser Fausto Moretti. Under pressure from Francesco, his respectable father, Fausto agrees to a
876:
drag tango or the way the little boy balances on the train track at the end, you should know that this picture plays as strongly now as it did in 1956 or whenever you first saw it. I know I had a ball watching
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who headed the jury, along with a public ovation and acclaim from the majority of critics. "Belying all doubts about its appeal", the film opened on
September 17, 1953, to both commercial and critical success.
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Described as an "itinerant production", shooting was tailored to accommodate Sordi's variety show schedule, requiring
Fellini and his troupe to follow him from town to town across Italy. On tour in the
604:) implying "an immature, lazy person without a clear identity or any notion of what to do with his life". In a 1971 letter, co-screenwriter Ennio Flaiano offered a fuller meaning of the word: "The term
589:
were "the unemployed of the middle class, mother's pets. They shine during the holiday season, and waiting for it takes up the rest of the year". According to biographer Alpert, the term was
681:-based CitĂ© Film, Pegoraro finally balked at the lack of a star. "Sordi makes people run away," he complained to Fellini. "Leopoldo Trieste is a nobody. Meet me half way â bring in a name."
870:
wrote: "In Italy, it remains one of
Fellini's most consistently loved movies. It should be in America as well ... If you still remember that terrific drunk scene, Alberto Sordi's pre-
709:, shooting began as an all-night party at the city's Teatro Goldoni in early December 1952. Supervised by production manager Luigi Giacosi whom Fellini had first met while on location in
784:
force, resulting in an imbalance of tone and pace and a certain sense of tedium. But such shortcomings are amply atoned for by the film's sincerity and authenticity." Arturo Lanocita of
1023:: Oscar; Best Writing, Story and Screenplay â Written Directly for the Screen, Federico Fellini (screenplay/story), Ennio Flaiano (screenplay/story) and Tullio Pinelli (story); 1958.
806:
did reasonable box office in Britain and North America while performing "huge in Argentina". Opening in France on 23 April 1954, it was especially well received. André Martin of
860:
was "a film of sensitivity, observation and humor â a must-see for Fellini enthusiasts and a worthwhile investment for everyone else. Those less taken by the maestro may find
613:, the large intestine, or a person who eats a lot. It was a way of describing the family son who only ate but never 'produced' â like an intestine, waiting to be filled."
330:
2179:
1007:
Italian National Syndicate of Film Journalists: Silver Ribbon; Best Director, Federico Fellini; Best Producer; Best Supporting Actor, Alberto Sordi; 1954.
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1485:
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Screened in competition at the 14th Venice International Film Festival on 26 August 1953, the film was awarded the Silver Lion by Italian poet
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themselves and the way they really are. Despite its weaknesses, the film is one of the best in recent years." For Giulio Cesare Castello of
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was a liability to an already risky venture. Fellini adamantly refused to change it, having chosen the film's title after "being called a
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freeze-frame was used to immobilize the young Guido, Moraldo's friend, at the end of the film when he balances himself on a railtrack.
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fiasco) as the budding dramatist, and his brother Riccardo, a total unknown, to interpret his own role. Further unknowns included
557:
would never attract an audience, Pegoraro requested that Fellini develop a comedy instead. Biographers differ as to who conceived
329:
nomination for Best Writing in 1958, the film was also Fellini's first commercial success. In 2008, the film was included on the
209:
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545:, had been a critical and commercial flop. In a show of solidarity, Rovere loaned the script to a Venetian professor of
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Kezich, 132. This explanation also was proposed by Tullio Pinelli in a 2001 research interview for the documentary,
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for "veal, or calf ... used to refer to callow youths". Today, the term is widely translated as "big calves".
345:
As summer draws to a close, a violent downpour interrupts a beach-side beauty pageant in a provincial town on the
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2221:
1713:
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insisted that by "virtue of the quality of the narrative, and the balance and control of the film as a whole,
705:, Sordi rehearsed his role and was ready for filming during his hours off. Accordingly, when the actor toured
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with whom he was still under contract. Rovere had solid reasons for turning it down: apart from the script of
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provided the winter setting for Fausto and his gang to wander around listlessly staring at the sea. In
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Distributors interested in the script demanded a title change: incomprehensible to a general audience,
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The film was re-released internationally on the tenth anniversary of Fellini's death in 2003. For the
337:, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."
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565:, it was Fellini who hit on the idea "after an afternoon-long consultation" with Ennio Flaiano. For
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with co-screenwriter Tullio Pinelli in 1952, Fellini offered their "modern fairy tale" to producer
1131:"The five youthful characters range in age between nineteen and the early twenties." Alpert, 81â82
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353:. After the sparsely attended middle-class ceremony, the newlyweds leave town on their honeymoon.
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contract banning Sordi's name from theatrical posters. To make matters worse, Fellini also cast
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The actual origin of the term has been defined as a cross between the Italian words for veal (
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1520:"There are so many imitators," wrote Kezich, "it's impossible to list them all." Kezich, 137
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1998:
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319:
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8:
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beauty pageant; after the birth of her child; and when Francesco beats his wayward son.
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2006:
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has an approval rating of 100% based on 26 reviews, with an average score of 8.70/10.
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2014:
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opened in the United States on 7 November 1956 to generally positive reviews. In his
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975:(1982) features a similar group of young men, Levinson has said he never saw
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677:. Pressured by his financial backers â a Florentine business group and the
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by an elderly woman expressing disapproval of one of his pranks". For him,
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546:
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1486:"CRITIC'S CHOICE/Film; Adrift in Post-war Italy, Perilously close to 30"
1947:
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2259:
2117:
1811:
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775:(Genoa). After praising Fellini's Venice triumph, Ermanno Contini of
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729:
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than for any of her film roles. Fellini topped things off by casting
527:
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had a cult following, she was more famous for her love affair with
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never earned, they're given a sound thrashing when it breaks down.
28:
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1990:
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as Fausto, an actor who had begun his film career in 1950 with
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slang for "The slackers" or "The layabouts") is a 1953 Italian
955:(1985), among many others according to Kezich. These include
864:
to be a favorite among his works". Michael Wilmington of the
678:
1843:
1109:"Ecco i cento film italiani da salvare Corriere della Sera"
725:
653:
272:
16:
1953 Italian comedy-drama film directed by Federico Fellini
1017:
Venice Film Festival: Golden Lion; Federico Fellini; 1953.
1004:
Venice Film Festival: Silver Lion; Federico Fellini; 1953.
549:
turned film producer, Lorenzo Pegoraro, who had admired
360:
Moraldo, Sandra's brother and the youngest of the five
802:
Fellini's first film with international distribution,
990:
cited the film as one of his top 10 favourite films.
1538:
539:
being an unrecognizable genre, Fellini's last film,
1289:
1287:
468:Arlette Sauvage as mysterious woman at the cinema
2409:
1754:
380:friends sleeping and dreaming their lives away.
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2189:Venice Film Festival Silver Lion (1953â1994)
1405:"Cahiers du Cinema: Top Ten Lists 1951-2009"
1175:
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1076:
713:during the war, and photographed by veteran
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27:
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2458:Italian coming-of-age comedy-drama films
1034:
881:again. It reminded me of the old gang."
692:, a respected stage actor, in the part.
1134:
2410:
1612:Fava, Claudio and Aldo Vigano (1990).
1561:
1544:
909:One of Fellini's most imitated films,
695:
287:from a screenplay written by himself,
2161:
1728:
525:Having completed an early version of
429:as Francesco Moretti, Fausto's father
331:Italian Ministry of Cultural Heritage
266:
1142:"Full cast and crew for I Vitelloni"
743:
2079:Cameriera bella presenza offresi...
1432:First published 24 October 1956 in
1402:
459:as Signora Rubini, Moraldo's mother
453:as Signore Rubini, Moraldo's father
13:
2438:Films directed by Federico Fellini
1715:I Vitelloni: A Trip to the Station
1353:First published 31 August 1953 in
1340:First published 28 August 1953 in
1327:First published 28 August 1953 in
1314:First published 9 October 1953 in
684:To placate him, Fellini contacted
489:Gigetta Morano as Alberto's mother
423:as Sandra Rubini, Moraldo's sister
14:
2489:
2321:Recollections of the Yellow House
1646:
893:On the review aggregator website
779:outlined the film's weaknesses: "
33:Italian theatrical release poster
2145:How Strange to Be Named Federico
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1191:
821:'s Annual Top 10 List in 1954.
1868:Fellini: A Director's Notebook
1718:an essay by Tom Piazza at the
1600:. Princeton University Press.
1598:The Cinema of Federico Fellini
1504:"The Young and The Passionate"
1182:
1159:
1125:
1101:
1084:"THE 30TH ACADEMY AWARDS 1958"
1:
2453:Italian black-and-white films
2018:("The Miracle" segment, 1948)
1632:. New York: Faber and Faber.
1614:The Films of Federico Fellini
1027:
986:magazine, acclaimed director
515:
483:Maja Nipora as Caterina, the
335:100 Italian films to be saved
2443:French black-and-white films
2428:1950s Italian-language films
2087:The Bandit of Tacca Del Lupo
1564:Stanley Kubrick: A Biography
1380:First published May 1954 in
1357:(Milan). Fava and Vigano, 75
1344:(Milan). Fava and Vigano, 75
1331:(Genoa). Fava and Vigano, 75
1318:(Turin). Fava and Vigano, 73
979:before making his own film.
913:inspired European directors
904:
510:as the voice of the narrator
7:
2473:Films set in Emilia-Romagna
1584:. New York: Paragon House.
673:but had recently bombed in
495:Silvio Bagolini as Giudizio
10:
2494:
2055:The Flowers of St. Francis
1630:Fellini: His Life and Work
1596:Bondanella, Peter (1992).
856:, Mick LaSalle noted that
616:
520:
2463:Films scored by Nino Rota
2448:Italian independent films
2347:J'entends plus la guitare
2304:
2195:
2124:E il Casanova di Fellini?
2105:
1966:
1763:
1207:(Paris), Issue July 2003.
993:
675:Christ Passed by the Barn
648:. Although Czech actress
498:Milvia Chianelli as Maria
435:as Olga, Alberto's sister
247:
237:
227:
215:17 September 1953 (Italy)
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154:
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134:
120:
110:
88:
76:
64:
48:
38:
26:
21:
2132:Fellini: I'm a Born Liar
1200:Fellini: I'm a Born Liar
1049:The Criterion Collection
644:who had just wrapped on
621:Fellini once again cast
572:
474:as simple-minded peasant
441:as Signore Michele Curti
2423:1953 comedy-drama films
2113:Giulietta Masina (wife)
1628:Kezich, Tullio (2006).
1580:Alpert, Hollis (1988).
1458:San Francisco Chronicle
1146:Internet Movie Database
853:San Francisco Chronicle
447:as Signora Giulia Curti
383:
340:
2433:1953 independent films
2031:In the Name of the Law
665:Michelangelo Antonioni
492:Guido Martufi as Guido
318:Recipient of both the
268:[ivitelËloËni]
264:Italian pronunciation:
218:23 April 1954 (France)
2335:Raise the Red Lantern
2327:Death of a Tea Master
2313:Landscape in the Mist
1956:The Voice of the Moon
1932:And the Ship Sails On
1852:Juliet of the Spirits
1616:. New York: Citadel.
1562:Baxter, John (1997).
1436:. Fava and Vigano, 76
1384:. Fava and Vigano, 76
1382:Les Cahiers du Cinéma
982:In a 1963 edition of
809:Les Cahiers du Cinéma
1999:Flesh Will Surrender
1720:Criterion Collection
1473:The Chicago Tribune,
1470:Wilmington, Michael.
1460:, film review, 2003.
411:as Leopoldo Vannucci
320:Venice Film Festival
2478:1950s Italian films
1916:Orchestra Rehearsal
1860:Spirits of the Dead
1492:. 14 November 2003.
1409:alumnus.caltech.edu
1342:Corriere della Sera
915:Juan Antonio Bardem
787:Corriere della Sera
769:Gazzetta del LunedĂŹ
696:Filming and editing
670:Chronicle of a Love
2468:Films set in Italy
2383:Heavenly Creatures
2248:Sansho the Bailiff
2147:(2013 documentary)
2126:(1975 documentary)
2047:The Mill on the Po
2007:Bullet for Stefano
1670:TCM Movie Database
1475:film review, 2003.
1434:The New York Times
773:Gazzeta del Lunedi
646:The Queen of Sheba
638:Franco Interlenghi
508:Riccardo Cucciolla
391:Franco Interlenghi
297:Franco Interlenghi
115:Riccardo Cucciolla
101:Franco Interlenghi
2405:
2404:
2367:A Heart in Winter
2242:On the Waterfront
2155:
2154:
2134:(2002 documentary
1876:Fellini Satyricon
1820:Nights of Cabiria
1641:
1639:978-0-571-21168-5
1625:
1609:
1593:
1573:978-0-00-638445-8
1566:. HarperCollins.
1403:Johnson, Eric C.
942:American Graffiti
925:, and influenced
819:Cahiers du Cinéma
744:Critical response
553:. Convinced that
405:as Fausto Moretti
393:as Moraldo Rubini
283:film directed by
271:, literally "The
255:
254:
139:Rolando Benedetti
2485:
2294:Le Notti Bianche
2182:
2175:
2168:
2159:
2158:
1796:Love in the City
1756:Federico Fellini
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1411:. Archived from
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749:Italy and France
690:Achille Majeroni
686:Vittorio De Sica
628:Leopoldo Trieste
465:as Sergio Natali
463:Achille Majeroni
415:Riccardo Fellini
409:Leopoldo Trieste
325:in 1953, and an
313:Riccardo Fellini
309:Leopoldo Trieste
285:Federico Fellini
270:
265:
208:26 August 1953 (
130:Luciano Trasatti
105:Leopoldo Trieste
80:Lorenzo Pegoraro
68:Federico Fellini
52:Federico Fellini
43:Federico Fellini
31:
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18:
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2341:The Fisher King
2300:
2286:The Grasshopper
2204:Little Fugitive
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1983:Rome, Open City
1962:
1940:Ginger and Fred
1780:The White Sheik
1759:
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1582:Fellini: A Life
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1508:Rotten Tomatoes
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988:Stanley Kubrick
965:(1979). While
952:St. Elmo's Fire
947:Joel Schumacher
927:Martin Scorsese
923:Lina WertmĂŒller
907:
895:Rotten Tomatoes
867:Chicago Tribune
840:Bosley Crowther
755:Eugenio Montale
746:
718:Otello Martelli
715:cinematographer
698:
657:Joseph Goebbels
633:The White Sheik
619:
575:
551:The White Sheik
542:The White Sheik
523:
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472:Silvio Bagolini
451:Enrico Viarisio
386:
351:shotgun wedding
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1995:
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1975:The Last Wagon
1970:
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1967:As writer only
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1704:carnival scene
1697:
1690:selected scene
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1647:External links
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1455:LaSalle, Mick.
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835:New York Times
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2071:Four Ways Out
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1836:Boccaccio '70
1833:
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1828:La dolce vita
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1591:1-55778-000-5
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1547:, p. 12.
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1415:on 2012-03-27
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1329:Il Secolo XIX
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1045:"I vitelloni"
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962:The Wanderers
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919:Marco Ferreri
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777:Il Secolo XIX
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642:Leonora Ruffo
639:
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634:
630:(the lead in
629:
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623:Alberto Sordi
614:
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607:
603:
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567:Hollis Alpert
564:
563:Tullio Kezich
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457:Paola Borboni
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427:Jean Brochard
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327:Academy Award
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301:Alberto Sordi
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289:Ennio Flaiano
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93:Alberto Sordi
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55:Ennio Flaiano
51:
49:Screenplay by
47:
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41:
37:
30:
25:
20:
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2375:Kosh ba kosh
2373:
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2355:Luxury Hotel
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2272:
2266:
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2240:
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2220:
2214:
2210:Moulin Rouge
2208:
2202:
2144:
2131:
2123:
2093:
2085:
2077:
2069:
2063:Path of Hope
2061:
2053:
2045:
2039:City of Pain
2037:
2029:
2023:Without Pity
2021:
2013:
2005:
1997:
1989:
1981:
1973:
1954:
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1938:
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1629:
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1597:
1581:
1563:
1555:Bibliography
1540:
1532:
1525:
1516:
1507:
1498:
1489:
1480:
1472:
1465:
1457:
1450:
1441:
1433:
1428:
1417:. Retrieved
1413:the original
1408:
1398:
1389:
1381:
1376:
1354:
1349:
1341:
1336:
1328:
1323:
1315:
1310:
1277:
1240:
1204:
1198:
1193:
1184:
1161:
1149:. Retrieved
1145:
1136:
1127:
1116:. Retrieved
1112:
1103:
1091:. Retrieved
1087:
1078:
1052:. Retrieved
1048:
1011:
1010:
998:
997:
983:
981:
976:
970:
960:
950:
945:(1973), and
940:
937:George Lucas
932:Mean Streets
930:
910:
908:
898:
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878:
871:
865:
861:
857:
851:
849:
833:
829:
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748:
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738:
734:
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699:
683:
674:
668:
650:LĂda BaarovĂĄ
645:
631:
620:
610:
605:
601:
600:) and beef (
597:
595:
586:
582:
578:
576:
558:
554:
550:
540:
536:
533:Luigi Rovere
526:
524:
478:Vira Silenti
445:LĂda BaarovĂĄ
439:Carlo Romano
377:
374:
370:
366:
361:
359:
355:
344:
317:
281:comedy drama
258:
257:
256:
229:Running time
199:Release date
186:RKO Pictures
2361:JamĂłn jamĂłn
2234:I Vitelloni
1788:I Vitelloni
1764:As director
1758:filmography
1702:I Vitelloni
1688:I Vitelloni
1676:I Vitelloni
1665:I Vitelloni
1654:I Vitelloni
1545:Baxter 1997
1371:Kezich, 137
1272:Kezich, 135
1235:Kezich, 133
1223:Kezich, 134
1165:Kezich, 131
1073:Kezich, 130
1012:Nominations
977:I Vitelloni
911:I Vitelloni
899:I Vitelloni
883:A. O. Scott
879:I Vitelloni
862:I Vitelloni
858:I Vitelloni
830:I Vitelloni
814:I Vitelloni
804:I Vitelloni
792:I Vitelloni
781:I Vitelloni
579:I vitelloni
559:I Vitelloni
547:calligraphy
502:Lilia Landi
417:as Riccardo
323:Silver Lion
295:. It stars
259:I vitelloni
233:108 minutes
111:Narrated by
84:Jacques Bar
77:Produced by
39:Directed by
22:I vitelloni
2418:1953 films
2412:Categories
2139:2003 book)
2095:Fortunella
1948:Intervista
1884:The Clowns
1445:Alpert, 87
1419:2017-12-17
1393:Alpert, 86
1305:Alpert, 85
1281:Alpert, 84
1256:Alpert, 83
1244:Alpert, 82
1179:Alpert, 81
1118:2021-03-11
1093:22 January
1088:Oscars.org
1054:22 January
1028:References
845:John Simon
703:Big Ruckus
516:Production
504:as herself
480:as Gisella
399:as Alberto
165:Cité Films
156:Production
2305:1988â1994
2268:Le Amiche
2260:La Strada
2196:1953â1957
2118:Paparazzi
1812:Il bidone
1804:La Strada
1355:Cinema VI
1316:La Stampa
1205:CinéLibre
905:Influence
797:Cinema VI
764:La Stampa
730:Fiumicino
611:vudellone
606:vitellone
587:vitelloni
583:vitellone
555:La Strada
537:La Strada
528:La Strada
485:soubrette
378:vitelloni
362:vitelloni
238:Countries
163:Peg-Films
158:companies
149:Nino Rota
135:Edited by
1908:Casanova
1900:Amarcord
1681:AllMovie
1203:(2002).
1151:30 April
935:(1973),
838:review,
790:wrote: "
707:Florence
591:Romagnol
277:Romagnol
273:bullocks
248:Language
188:(France)
145:Music by
89:Starring
65:Story by
2395:Il toro
2106:Related
2015:L'Amore
1709:YouTube
1695:YouTube
1668:at the
885:of the
711:Tripoli
617:Casting
598:vitello
521:Writing
251:Italian
182:(Italy)
2398:(1994)
2378:(1993)
2370:(1992)
2350:(1991)
2330:(1989)
2316:(1988)
2297:(1957)
2289:(1955)
2263:(1954)
2237:(1953)
2228:Ugetsu
2098:(1958)
2090:(1952)
2082:(1951)
2074:(1951)
2066:(1950)
2058:(1950)
2050:(1949)
2042:(1949)
2034:(1949)
2026:(1948)
2010:(1947)
2002:(1947)
1994:(1946)
1991:Paisan
1986:(1945)
1978:(1943)
1959:(1990)
1951:(1987)
1943:(1986)
1935:(1983)
1927:(1980)
1919:(1979)
1911:(1976)
1903:(1973)
1895:(1972)
1887:(1970)
1879:(1969)
1871:(1969)
1863:(1968)
1855:(1965)
1847:(1963)
1839:(1962)
1831:(1960)
1823:(1957)
1815:(1955)
1807:(1954)
1799:(1953)
1791:(1953)
1783:(1952)
1775:(1950)
1637:
1621:
1605:
1589:
1570:
1535:, 1982
994:Awards
984:Cinema
921:, and
602:bovino
561:. For
311:, and
243:France
210:Venice
2216:Sadko
972:Diner
722:Ostia
679:Paris
573:Title
241:Italy
1892:Roma
1659:IMDb
1635:ISBN
1619:ISBN
1603:ISBN
1587:ISBN
1568:ISBN
1153:2012
1095:2023
1056:2023
999:Wins
726:quay
724:, a
654:Nazi
640:and
384:Cast
341:Plot
291:and
275:" -
180:ENIC
1707:on
1693:on
1679:at
1657:at
969:'s
959:'s
949:'s
939:'s
929:'s
667:'s
333:âs
2414::
2392:/
2386:/
2364:/
2358:/
2344:/
2338:/
2324:/
2283:/
2277:/
2271:/
2257:/
2251:/
2245:/
2231:/
2225:/
2219:/
2213:/
2207:/
1844:8œ
1506:.
1488:.
1407:.
1362:^
1298:^
1286:^
1261:^
1249:^
1228:^
1212:^
1170:^
1144:.
1111:.
1086:.
1064:^
1047:.
1036:^
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897:,
307:,
303:,
299:,
2181:e
2174:t
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1741:t
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1576:.
1510:.
1422:.
1155:.
1121:.
1097:.
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262:(
212:)
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