Word: sica
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Dates: during 1960-1969
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Yesterday, Today and Tomorrow. There is more to Sophia Loren than meets the eye, and Director Vittorio De Sica is the man who sees it. In Gold of Naples he showed the world that Sophia is socko as a liedown comic. In Two Women he gave the girl an accelerated course of Duse and don'ts that revealed enough talent for tragedy to win her a 1961 Oscar. And in this picture, a hairily hilarious but fundamentally innocent little comedy, De Sica displays Sophia as a warm and earthy and even rather subtle comedienne...
...speed the answer, ardent Latins, in particular, sometimes telegraph their admiration for an attractive woman by squeezing her fingers or locking on to them with both hands. After all, cracks Italian Moviemaker Vittorio De Sica: "You've got to start somewhere...
...economy. No one knows for sure the exact value of the cambiali now in circulation in Italy, but knowledgeable bankers estimate that their worth may equal the total value of Italy's currency. Cambiali have become so much a part of Italian life that Cinema Director Vittorio De Sica has just produced a movie -fittingly called // Boom-in which a young husband sells his right eye to get money to honor the cambiali he has signed to please his greedy wife...
...drama produced four years ago in Paris, Philosopher-Playwright Jean-Paul Sartre almost turned the trick. His play transformed turgid history into skillful theater and tired slogans into existential epigrams. This film, adapted freely from the drama, presents even more impressive credentials. It is directed by Vittorio De Sica. It stars, along with Fredric March and Robert Wagner, two 1961 Oscar winners: Sophia Loren and Maximilian Schell. And it is written by Abby Mann, who also carried off a 1961 Oscar for his script of Judgment at Nuremberg. But there will hardly be any such laurels for Altona...
...this Elbe of verbiage Director De Sica sinks without a bubble. In scene after scene he simply aims his camera at a famous face and hopes for the best. He seldom gets it. Loren looks stupid in a stupid part. Schell, in a role demanding virility and violence, behaves like a hysterical girl. March, for want of anything better to play, plays March. Wagner at least gives the customers something to snicker at. His sunny California accent sounds gloriously silly in foggy old Hamburg, and when he walks in to take over the family firm, he looks wildly...