Bread, love and fantasy
| Movie | |
|---|---|
| German title | Bread, love and fantasy |
| Original title | Pane, amore e fantasia |
 | |
| Country of production | Italy |
| original language | Italian |
| Publishing year | 1953 |
| length | 92 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Luigi Comencini |
| script |
Ettore Maria Margadonna Luigi Comencini |
| production | Marcello Girosi |
| music | Alessandro Cicognini |
| camera | Arturo Gallea |
| cut | Mario Serandrei |
| occupation | |
| |
Bread, Love and Fantasy is an Italian feature film from 1953 directed by Luigi Comencini with Vittorio de Sica and Gina Lollobrigida in the leading roles. The film, which exemplarily embodies the smooth transition from the cinematic neorealism tragedy of the first post-war years to the “Commedia all'italiana” of the 1950s, received an Oscar nomination in 1955 in the category Best Screenplay / Best Story ( Ettore Maria Margadonna ).
action
Maresciallo (policeman) Antonio Carotenuto, who came from Sorrento, near Naples, is transferred to the village of Sagliena in Abruzzo as head of a small Carabinieri station . When he arrives in the poor, godforsaken place, he notices the great destruction of the buildings. He asks whether these have something to do with the Second World War, which was not too long ago, but it is replied that these were the consequences of a major earthquake. The people here are poor and frugal, but their originality and shrewdness quickly make it clear to the police officer that their living conditions do not have to mean that the residents lose their humor and zest for life. The fact that the 50-year-old is still a bachelor immediately causes some excitement in the small community, because the charming Carotenuto is immediately assumed to have the mentality of a woman's heartbreaking grand seigneur of the "old school". The men of Saglienas begin to fear their wives. At this point somewhere in the middle of nowhere, two worlds collide: The somewhat more cosmopolitan Maresciallo has an effect on the hermits of the mountain village with their archaic views and customs like an imponderable and threatening break in the vicious world “out there”. One is extremely conservative here and believes that every change poses a threat to customs and morals as well as one's own identity. Accordingly, three strange old men, some of them armed with telescopes, observe from their bench all the events, changes and emotions of their fellow citizens.
The Maresciallo quickly noticed the young Maria, who came from a poor family, and was called "Bersagliera" by everyone. The proud girl is the poorest girl in the village, barefoot and walking through the streets in a shabby dress or riding a donkey, her only possession. With one or the other "crooked tour", La Bersagliera tries to support her mother, who as a single "La Mamma" had to raise a large number of children. In her self-confidence and her open-heartedness, Maria is a constant nuisance for the moral authority in the village, the influential pastor Don Emidio. He sees Mary's beauty and simultaneous neediness as a constant temptation for all men, married or not. Carotenuto also threatens to succumb to the feminine charms of this siren, as he has no idea that Maria is actually already "taken", namely to the young Brigadier Pietro Stelluti, who loves her dearly, but in his shyness does not dare to give her this love to confess. In the past eight months he has not even spoken to "La Bersagliera", let alone done more, which is why Maria believes he is not interested in her at all. Since Maria assumes that Pietro rejects her, possibly because of her poverty, she treats the policeman particularly badly.
Another woman arouses Maresciallo Carenuto's interest, namely the no less charming midwife Annarella, who mysteriously regularly disappears to Rome for a few days without anyone knowing what she is doing there. Antonio promptly believes that she may already have a secret admirer in the capital. Carotenuto suddenly finds himself in a quandary and does not know which of the two seductive villagers to choose. Since Maria is particularly perky and cheeky towards him, he mistakenly believes that she wants to lure him out of reserve with her manner. But then everything happens very quickly: Finally, heart to heart find each other. Pietro summons up his courage and confesses his love to the bold village beauty Maria, while Maresciallo finally becomes engaged to the midwife at the festival in honor of St.
Production notes
The shooting of Bread, Love and Fantasy took place in the summer of 1953 in Castel San Pietro Romano . The premiere was on December 22, 1953, the German premiere took place on August 19, 1954. The German television premiere was on September 14, 1968 on ZDF .
Gastone Medin designed the film structures, Ugo Pericoli the costumes. Armando Nannuzzi was a camera assistant and simple cameraman.
Luigi Comencini received the Silver Bear for his film at the Berlinale .
useful information
Bread, Love and Fantasy had two sequels: Love, Bread and Jealousy (1954, also with Gina Lollobrigida) and Love, Bread and a Thousand Kisses (1955, this time with Sophia Loren in the female lead).
Reviews
In the mirror you could read: “A village Abruzzo comedy, full of southern eroticism, milder social criticism and benign poetry. As a ragged heroine and partner of Vittorio de Sicas, Gina Lollobrigida proves against all skepticism that she is an actress, equally gifted in the tragic and the comic. "
The time was short and sweet: “As an enchanting nothing, harmless, full of charm and wit, the Italian comedy film“ Love, Bread and Imagination ”is an entertainment film of the highest quality that continues to attract streams of visitors to this day. De Sica as Mareschallo and Gina Lollobrigida as scruffy village beauties delight as actors. "
The lexicon of the international film found: “A happy and moving love story from everyday life in an Italian mountain village. (...) Using neorealism, the film creates a fresh and human image of a people in which happiness and melancholy, passion and chivalry, malice and goodness, superstition and genuine religiosity live side by side. "
Individual evidence
- ↑ New in Germany: BREAD, LOVE AND PHANTASIE . In: Der Spiegel . No. 37 , 1954, pp. 39 ( online review).
- ↑ Critique of December 30, 1954
- ↑ Bread, Love and Imagination. In: Lexicon of International Films . Film service , accessed February 4, 2020 .
Web links
- Bread, Love and Dreams in the Internet Movie Database (English)
- Pane, amore e fantasia on cinematografo.it