Introduction 1. a Note on Titles. on the First Mention of a Film, I Give The

Home , Antonio Pietrangeli, A Difficult Life, Camillo Mastrocinque, Caprice Italian Style, Casanova 70, Dino Risi

Notes

Introduction

1. A note on titles. On the first mention of a film, I give the original Italian title, followed by the English language title used for international release, or my translation where no such title exists. Subsequent mentions of film titles are in the original Italian; English titles are available in the Filmography. 2. For a full list of the corpus I consulted, see the Filmography. 3. Unless stated otherwise, all translations are my own.

1 Cinema, Space, Gender

1. In Gender, Space, Architecture: An Interdisciplinary Introduction (2000), editors Jane Rendell, Barbara Penner, and Iain Borden set out an overview of the issues linking gender and space in architectural studies. In film studies, although we have volumes which link space and cinema (e.g., Konstantarakos, 2000; Everett and Goodbody, 2005; Rhodes and Gorfinkel, 2011a), we currently lack a volume similar to Rendell et al.’s which provides an account of the link between the three concepts space, gender, and cinema. 2. For an overview of the “spatial turn,” see Warf and Arias (2009). 3. For a useful discussion of De Certeau’s take on the terms space and place, see Rhodes and Gorfinkel (2011b: xi). Citing Margaret Kohn, the authors argue that “de Certeau’s terms and his definitions of them are actually ‘poorly chosen metaphors for a politics of domina- tion or nostalgia’” (Kohn, 2003: 21, cited in Rhodes and Gorfinkel, 2011b: xi). 4. On the national archive and the status of its documentation in the Italian filmmaking process, see Pauline Small’s useful overview (2009: 127–8). 5. For an image of a similar Italian shooting schedule from the same period, see the shooting schedule of La ciociara (Two women, 1960) reproduced in Pauline Small’s article “The New Italian Film History” (2010: 274–5). 206 NOTES

6. As Rob Shields recounts (1999: 143), Lefebvre made an extended visit to California in 1983 with an interpreter, which helped spread his ideas among Anglophone geographers and critical theorists before the English translation of his work on space. For an incisive analysis of how these postmodern geographers and theorists failed to account for gender, see Massey (1993: 232–3). 7. Geographers have acknowledged this point, leading to what McDowell has termed “a so-called ‘cultural turn’ in feminist scholarship and indeed in geographical research more generally,” characterized by “a greater emphasis on symbols, meanings and representations” (1999: 7–8). Examples of this cultural turn in geography include Rose’s work on film (1994) and Aitken and Zonn’s edited volume Place, Power, Situation, and Spectacle (1994). 8. Mulvey herself explored the place of the look in relation to sexuality (1992) and desire (1996) from a psychoanalytic perspective. 9. For a historical overview of these developments in gendered approaches to film, see Kaplan (2008). 10. On the cinematic city, see, for example, Clarke (1999), Shiel and Fitzmaurice (2001), Krause and Petro (2003), Al Sayyad (2006), Webber and Wilson (2007), and Mennel (2008). The trend is also evident within work on Italian film, as seen, for example, in Shiel (2006), Rhodes (2007) and Wrigley (2008). 11. Examples here include Angelo Restivo’s monograph (2002) on “the Italian art film” in the 1960s, which takes a spatial approach to Italian cinema, focusing in particular on the spaces of the nation and the city, Mirco Melanco (2005) and Noa Steimatsky’s (2008) books, and William Hope’s chapter (2010), which all take up different aspects of Italian cinema’s representation of landscape. A key exception to this focus on larger-scale spaces is Daniela Niccolini’s chapter on “Cinema, Identity, and Everyday Life,” which looks at the spaces of everyday life, including the kitchen, in 1960s Italian cinema (2005). 12. Important early contributions on everyday space in cinema include the attention given to domestic space in work on melodrama (Elsaesser, 1972; Haskell, 1974; Doane, 1987). More recent work has looked at the spaces of the home (Pidduck, 2004), the skyscraper (Schleier, 2009), the apartment (Wallace, 2009; Robertson Wojcik, 2010), the beach (Handyside, 2013), and the swimming pool (Brown and Hirsch, 2014).

2 Comedy, Italian Style

1. The subseries of historical comedies includes titles such as La grande guerra (The Great War, 1959), set during the First World War, or Tutti a casa (Everybody Go Home, 1960), La marcia su Roma (March on Rome, 1962) and Anni Ruggenti (Roaring Years, 1962), which deal with Italy’s Fascist past, or films such as L’armata Brancaleone NOTES 207

(Brancaleone’s Army, 1966) or L’arcidiavolo (The Devil in Love, 1966), which are set in a fictional middle-ages setting. On the historical comedies, see Giacovelli (1995: 49–51 and 69–71). 2. For full lists of the top ten box office performers, see the tables by Umberto Rossi in Volume X (1960–64) and Volume XI (1965–69) of the Marsilio Storia del cinema italiano (Rossi, 2001 and 2002). 3. For a history of Italian film comedy, see Enrico Giacovelli (1999). On contemporary Italian comedy see Ilaria De Pascalis’ study (2012) and on the Italian Christmas comedies see Alan O’Leary (2013). For a discussion of post-2000 Italian comedy with a particular focus on masculinity, see O’Rawe (2014: 45–67). 4. As Maggie Günsberg puts it: “Comedy, Italian Style continues the tradition of Italian cinematic comedy centring on particular star comedians, a dynamic already at work in sixteenth-century commedia dell’arte theatre, with its plays improvised around characters famous comic actors had made their own” (2005: 62). 5. The original quote comes from Tudor’s Theories of Film (1974: 139) and is cited in Neale (2000: 18) and Günsberg (2005: 4). 6. See Altman’s discussion of the critical “regenrification” of “melodrama” in Anglophone film studies via “family melodrama” (Elsaesser, 1972) to the “woman’s film” (Haskell, 1974 and Doane, 1987), all of which are terms, he suggests, which were not used by the producers of the respective films at the time (1999: 69–82). 7. For a table that classifies the performances of Italian actresses in the period according to genre, see Garaguso and Renzetti (1978: 71). 8. Of the 157 films in my 1958–70 Comedy, Italian Style filmography, 43 star Sordi, 33 Gassman, 36 Tognazzi, and 32 Manfredi. One or more of the four star in 112 out of the total 157 films. 9. Apart from Il moralista, Il maestro di Vigevano, and Il boom, the other three films in question are Il mattatore (Love and Larceny, 1960), Il successo (Success, 1963), and I nostri mariti. The documents on production costs are held in the Archivio Centrale dello Stato and are listed in the bibliography. Pauline Small notes that producers were only required to produce an estimated budget to apply for state funding (2009: 129). However, some film files in the state archives also include a document, submitted by the producer at a later date, which lists the actual costs incurred. The budget figures I cite in this chapter are taken from documents listing actual filming costs, unless stated otherwise. 10. For example, Il moralista’s screenplay cost L8,487,500 in total, only slightly less than the L8,697,876 spent on the director. The total amount spent on the screenplay of Il mattatore cost more than the services of the director, Dino Risi: L15,560,000 versus L13,000,000. For Il maestro di Vigevano, L17,666,010 was spent on the screenplay (including a fee of L14,462,000 to Age and Scarpelli), slightly more than the L17,560,513 spent on the director Elio Petri. 208 NOTES

11. Il moralista total cost: L166,369,543; Il mattatore total cost: L203,835,933; Il boom total cost: L435,278,338; Il maestro di Vigevano total cost: L431,315,821; Il successo total cost: L264,709,004; I nostri mariti estimated total cost: L400,645,000. 12. Small cites the estimated total costs for the films as follows: I soliti ignoti, 220,600,000; La grande guerra, L472,798,541; Il sorpasso, L298,000,000; Una vita difficile, L348,987,320; I mostri, L301,303,070. It is worth noting that Ieri, oggi e domani and Matrimonio all’italiana, two comedies directed by Vittorio De Sica and starring Sophia Loren and Marcello Mastroianni, had higher estimated budgets: L695,000,000 and L650,000,000 respectively (Small, 2009: 131). 13. For a more extended treatment of Italian episode films of the 1950s and 1960s, see Marco Rossitti’s study (2005). 14. In the cinema journal Bianco e nero Roberto Chiti and Alberto Caldana list films released in Rome in 1960. For films released from April to June, see issue 8–9, pp. 130–56, for films released from July to August, see issue 10–11, pp. 132–52. 15. RAI—Radiotelevisione italiana—is Italy’s national public broadcast- ing company. For details and screening dates, see the Annuario RAI 1967 (for films broadcast in 1966) (RAI, 1967: 255); and Annuario RAI 1968 (for films broadcast in 1967) (RAI, 1968: 273). 16. “Gassman-Tognazzi TV,” curated by Gian Luigi Rondi, was broadcast in 1966 (RAI 1967: 272). “Italian cinematic comedy” was curated by Domenico Meccoli and broadcast in 1970 (RAI 1971: 325). 17. On the links between Comedy, Italian Style and other media, see Fullwood (2013). 18. For an overview of Italy’s economic miracle, see Chapter 7 of Paul Ginsborg’s history of contemporary Italy (1990). For an account that is particularly sensitive to the role of culture and representation in the miracle, see Guido Crainz’s study (1996). 19. As cited by Donald Sassoon (1986: 155). Readership was probably much higher, as copies bought were habitually passed around among several readers. A Doxa report on Epoca readers published in 1963 found that just over 50 percent of those interviewed shared their copy with other readers (Istituto Doxa, 1963: 109). 20. I consulted copies of the magazines held in the Biblioteca Nazionale in Rome. I examined the June 1963 issues of Epoca, Tempo, Le ore, L’Espresso, L’Europeo, and Oggi to give a sense of comparison between titles in a single year. I then examined every available June issue of Oggi in odd years from 1957–69 and every available December issue of Gente in odd years in the same period to give a sense of the chang- ing nature of the magazines throughout the 1960s, and seasonal variations within any given year. For each issue the type, size, color NOTES 209

and number of advertisements were noted, as well as relevant articles. Other issues were also skimmed through and consulted casually as I followed up references to films and stars. My choice of titles follows Aurelio Magistà’s work (2007) on the relationship between the entertainment press and Fellini’s La dolce vita (1959). My methodol- ogy is similar to Loehlin’s (1999: 17) in her study of German magazine advertising in the 1950s and 1960s. For publication histories of the magazines, see Magistà (2007: 258–61). 21. On the Italian daily press in the period, see Murialdi and Tranfaglia (1976); on women’s magazines, see Morris (2007); on the commu- nist and Catholic popular press, see Gundle (1991). 22. For example, Gente included an average of around five and a half pages of advertising in its December 1957 issues, compared with a range of between 27 and 37 pages of advertising in its December 1968 issues. As a percentage of total magazine content, this was an increase from around 9 percent to over 30 percent of advertising. Similarly, Oggi had an average of around 17 pages of advertising in its June 1957 issues, compared with upwards of 55 pages of advertising in its June 1969 issues, a percentage increase from around 25 percent to over 40 percent of advertising content. 23. For further details on Carosello’s format and regulations, see the Appendix accompanying Croce (2008: 199–202). For details on the individual advertisements, see Marco Giusti’s encyclopedic account (2004). 24. Carmela D’Apice notes that the Banca d’Italia stopped collecting data on ownership of consumer durables in 1975. Such data had ceased to be a useful indicator of social inequality, as by then 92 percent of Italian families owned a television and 94 percent owned a fridge (1981: 96). 25. This was not a new phenomenon. Forgacs and Gundle demonstrate the role of mass communications in shaping cultural modernization in the 20-year period preceding the economic miracle and argue that “the period from 1936 to 1954 needs to be seen afresh as part of a longer wave of cultural modernization” (2007: 4). Rather than taking on a new role in the 1960s, the already-established role of the media intensified and expanded. 26. For a discussion of the influence of American consumer culture across Europe in these years, see Victoria De Grazia’s Irresistible Empire which, in her words, describes “the rise of a great imperium with the outlook of a great emporium” (2005: 3). 27. For a discussion of Comedy, Italian Style production after this period, see Rémi Fournier Lanzoni’s piece in The Italian Cinema Book (2014), pp. 188–94. 28. Northrop Frye, for example, writes that “Comedy usually moves towards a happy ending” (1957: 167). For Steve Neale and Frank 210 NOTES

Krutnik a happy ending and the generation of laughter are comedy’s “two most fundamental conventions” (1990: 2), although the authors also note that a happy ending is “a crucial, but partial, convention” (1990: 12). Geoff King argues that part of the appeal of anti-hero characters is that “the seemingly incompetent or outgunned “little guy” will eventually prevail in his own terms” (2003: 39). This argument is difficult to sustain in relation to Comedy, Italian Style films where the “little guy” protagonist ends up, for example, dead (Il vedovo), permanently brain damaged (I mostri), shooting dead his beloved wife (Una questione d’onore, (A Question of Honour, 1966), or, less violently, a cuckolded dupe (Il magnifico cornuto), left by his wife (Il divorzio (Divorce, 1970) or lonely (L’impiegato). 29. An exception of course is the series of historical comedies mentioned above. These films represent the everyday spaces of the past, but they do this with an eye firmly on the problems of the present. 30. For a nuanced account of the early critical reception of Comedy, Italian Style, see Claudio Camerini’s essay (1986). In his seminal volume on Italian cinema, Vittorio Spinazzola gives a useful account of the genre (1975). This was followed by the series of articles by Tullio Masoni and Paolo Vecchi, which set out many of the key themes that recur in later debates (1978–1979c). There was a flurry of monographs on the genre in the 1980s, including two volumes by French scholar Jean Gili (1980 and 1983), and volumes in English by Ernesto G. Laura (1981) and Adriano Aprà and Patrizia Pistagnesi (1986). In Italian there appeared a collection of interviews edited by Pietro Pintus (1985) with an accompanying volume of essays edited by Riccardo Napolitano (1986), as well as monographs by Masolino D’Amico (1986) and Maurizio Grande (1986). 31. Liehm (1984), Marcus (1986), Sorlin (1996), Landy (2000), Wood (2005), and Bondanella (1983 [and subsequent editions] and 2009), all include discussions of the genre. 32. The genre’s constant recurrence in the multi-volume Storia del cinema italiano published by Marsilio is a case in point. There are numerous entries that discuss Comedy, Italian Style at length including, among others: Canova (2001a and 2001b), Comand (2001), Cremonini (2001), De Vincenti (2001), Di Marino (2001a, 2001b, 2001c and 2001d), Eugeni (2001), Farinotti (2001), Masi (2001), Morandini (2001), Tinazzi (2001), and Viganò (2001). 33. The title of Renzo Renzi’s piece on Comedy, Italian Style— “Neorealism and its euthanasia”—is an extreme example in this regard (1986). The status of neorealism in Italian film criticism is complex and the subject of lively debate. For readers unfamiliar with the postwar intellectual climate in Italy and its influence on Italian film criticism, Christopher Wagstaff provides a useful account of neorealism’s critical reception in Italian Neorealist Cinema: An Aesthetic Approach (2007: 37–8 and, especially, 411). Wagstaff outlines what NOTES 211

he calls “the ‘institution of neorealism’, in which all Italian films started to be measured against neorealist films: a film was evaluated according to whether it posited a progressive cultural function for the cinema or was a regression into escapist entertainment” (2007: 38). Neorealism continues to occupy a privileged place in Italian film studies and the debates outlined by Wagstaff have cast a long shadow. For an account of how neorealism has dominated our understanding of Italian cinema, at the expense of other issues that have remained understudied, especially in relation to popular cinema, see Catherine O’Rawe’s articles (2006 and 2008), as well as the polemical piece co-authored by O’Rawe and Alan O’Leary (2011), which calls for a moratorium on discussions of neorealism. 34. The view that Comedy, Italian Style criticized Italian society has been particularly bolstered by quotes to this effect from Mario Monicelli. Stephen Gundle has critiqued Monicelli’s claims and the “social criticism” view of Comedy, Italian Style more widely, and I point the reader to his analysis (1990: 215–17). As Gundle writes, “The wider argument that the satirical comedies of the Fifties and Sixties con- tributed decisively to the formation of a modern, democratic con- sciousness in Italy is one that cannot be sustained in any serious or convincing way” (1990: 216). 35. For a critique of Frye’s work from a feminist perspective see Rowe Karlyn (2008: 158). 36. There is a small body of scholarship that has addressed the comedies’ representation of gender. Maria Pia Fusco (1986) has discussed representations of women in the genre, while Teresio Spalla (1986) has written on the director Antonio Pietrangeli. Anna Maria Caso (2004) has discussed the representation of women in films made during the economic miracle and Alice Autelitano (2007) provides an account of the representation of women in 1960s episode films. However, these authors tend not to draw on wider theoretical debates concerning gender or its representation in cinema. This is to some extent typical of Italian film studies, where the use of feminist film theory has lagged behind developments in studies of, for example, Hollywood or French cinema. For a discussion of Italian film studies’ failure to engage with cinematic theories of gender, see Hipkins (2008). 37. La visita is one of a triptych of Comedy, Italian Style films made by Antonio Pietrangeli with female protagonists (along with La parmigiana [The Girl From Parma, 1963] and Io la conoscevo bene [I Knew Her Well, 1965]). The films have a much more nuanced representation of female characters than the vast majority of other titles associated with the genre. As such, they have become somewhat of a touch- stone for scholarship addressing the genre’s representation of gender: Fullwood (2010) and Van Ness (2013) also discuss Pietrangeli’s Comedy, Italian Style films from a gendered perspective. 212 NOTES

38. “Sessualità nel cinema italiano degli anni Sessanta: Forme, figure e temi,” ed. Giovanna Maina and Federico Zecca, Cinergie, 5, 2014.

3 Bodies, Bikinis, and Bras: Beaches and Nightclubs in Comedy, Italian Style

1. Le ore, August 22, 1963, front cover. The “dream” image is perhaps a reference to Ursula Andress’ iconic appearance from the sea in a similar white bikini in Dr No (1962), released in Italy earlier the same year. 2. It is useful from the outset to note the contrast with auteur cinema’s more metaphorical use of the space. In Fellini’s cinema, for example, beaches appear as a location for photo-romance magazine strips (Lo sceicco bianco), out of season (I vitelloni), deserted (La strada, 1954), containing monsters (La dolce vita), or memories (8 ½, 1963), but they are much less concerned with anything as everyday as holiday- makers or sunbathers. 3. For a filmography of films set at the beach in postwar Italian cinema, see Ghigi (1989). 4. Guido Crainz gives a sense of the growth in holiday activities during this time. He recounts that stays in Italian hotels doubled between 1956 and 1965, while visits to campsites increased from 3,7000,000 in 1958 to nearly 11,000,0000 in 1965 (1996: 137). Not all of these visitors were Italian; Patrizia Battilani, for example, comments that in Rimini in the 1960s, foreign tourists made up 40 percent of the total (2009: 104). 5. A key element of OND-organized mass outings were the “popular trains,” which provided heavily discounted travel to tourist destina- tions (De Grazia, 1981: 180). The film Treno popolare (Popular Train, 1933) brought this phenomenon to film screens. As Giuseppe Ghigi has argued (1989: 118–19), the predominantly studio-based model of Fascist-era filmmaking meant beach spaces were not a common feature in fiction films of those years. They were represented, however, in the newsreels produced by the Istituto Luce, especially Emilia- Romagna’s coastline, Mussolini’s preferred holiday destination. 6. The connection between beaches and cars was reinforced in media imagery of the period. A series of Esso advertisements, for example, showed couples or families with their cars parked on the sand of an idyllic, deserted beach (e.g., see, Gente, June 15, 1962, pp. 50–1). La voglia matta recreates the image of the car on the sand; Tognazzi’s experience is less idyllic than the adverts, however, as his car sinks and gets stuck. The opening of La camera an episode of Le coppie (Man and Wife, 1970), shows cars parked on the sand at Ostia, although rather than deserted beach they are surrounded by crowds of beachgoers. NOTES 213

7. For comparison, see the similar image of the crowded beach at Cattolica, near Rimini, in the 1960s included in Sorcinelli and Tarozzi’s photographic history of Italian leisure (1999: 87). 8. Tullio Masoni and Paolo Vecchi (1979) argue that there are strong links between the representation of the beach in Italian popular music and Comedy, Italian Style in this period. As well as industrial connections (the main arrangers for the international music label RCA, Ennio Morricone and Luis Bacalov, were also film composers), they highlight “a complementarity of scenes and moods” between contemporary song lyrics and the films’ representations of the beach (1979: 430–2). 9. As suggested by the Doxa market research surveys edited by Pierpaolo Luzzatto Fegiz (1966: 185). 10. The representation of beaches in the print media was by no means a new phenomenon. Lucia De Nicolò, for example, notes the use of beach correspondents by turn-of-the-century Italian newspapers (1989: 74). The extensive use of photographic images in the 1960s entertainment magazines is, on the other hand, a comparatively new development in Italian print media coverage of such spaces. 11. Sardinia’s exclusive Emerald coast on the north of the island was developed in the 1960s by Prince Karim Aga Khan IV. For a discussion of the social significance of different Italian beach resorts, see Patrizia Battilani’s piece comparing Rimini and the Costa Smeralda (2002). 12. For a history of beach culture in Italy, see Triani (1988). 13. For an Italian study of the swimming costume, see Davanzo Poli (1995). On social and cultural reaction to skimpy swimwear, see Forgacs and Gundle (2007: 83–5). 14. See, for example, “Actors at the seaside” (“Attori al male”), L’Espresso, August 3, 1958, p. 21, through to September 14, 1958, p. 21. In subsequent issues the segment then returns to its regular title of “Their secrets” (“I loro segreti”). 15. The conspicuous nature of this look is striking; men on the Comedy, Italian Style beach do not attempt to hide their gaze. Martina Löw, commenting on an ethnographic study of French beaches, notes that looks on the beach tend to be covert or hidden (2006: 123. For a similar finding in an American study, see Edgerton, 1979: 152). I am yet to find a comparable ethnographic study of Italian beach practices. It is difficult to conclude, therefore, how far this conspicuous looking in the films corresponds to actual beach behaviors, or whether cinematic beaches actually allow for the pleasures of a direct gaze which social convention dictates must remain furtive in actual beach spaces. 16. On the beach party films, see Lisanti (2005). 214 NOTES

17. As ever, there is an exception to the dominant trend; in Scandaloso, an episode of Alta infedeltà, Nino Manfredi is admired at the beach by another man. The episode draws upon the more widespread het- eronomative associations of the beach gaze to create comedy, as Manfredi mistakenly assumes that the man is looking at his wife, and gets jealously competitive. 18. Female performance was of course not restricted to nightclubs, and was also associated with other locations, particularly the variety the- ater. Although there are a few examples of variety performance in the genre, such as that of Anna Maria Ferrero’s character in Il mattatore, or the twist performed by two anonymous women in the seedy the- ater at the start of La smania adosso (The Eye of the Needle, 1963), nightclubs are much more prevalent than their less glamorous, less affluent alternative. 19. For an account of the Piper by one of its founders, Giancarlo Bornigia, see Bonnanno and Bornigia (2005). Sergio Saviane wrote an account of the club’s opening night that appeared in L’Espresso (1965). 20. This generational difference is one that marked the actual Piper club as well. Paolo Capuzzo notes that despite the Piper club’s emphasis on youth in its marketing, its clientèle was more diverse and also con- sisted of the rich and famous who wanted to be associated with youth culture (2003: 234–5). 21. Claudio Bisoni’s discussion of the new generation of nightclub spaces in his piece on 1960s Italian musicals offers a particularly useful contrast to Comedy, Italian Style’s nightclubs (2014, especially pp. 74–5). Bisoni notes in particular that scenes of young people dancing often take place in settings which “do away with the neat divides of stage- seating-dancefloor,” instead using spaces where performers are on the same level as the audience (2014: 75). If the distinction between performer and audience is often maintained in Comedy, Italian Style through the use of shot/reverse-shot (as we saw in chapter 1 in the case of Il moralista, for example), Bisoni highlights how teen musicals in Italy often collapse this divide by a frequent recourse to track- ing shots which begin with a close-up of a performer, before moving backwards into the audience (2014: 74). He also notes that these spaces allowed for the expression of female desire, and suggests that it is for this reason that in films other than musicals, such as Comedy, Italian Style, these types of clubs “seem to have a paralyzing force in relation to traditional masculinity” (2014: 75). 22. The following 19 films include at least one striptease scene: Audace colpo dei soliti ignoti, Costa Azzurra, Il moralista, Il mattatore, Frenesia dell’estate, Casanova ’70, Signore e signori, Le dolci signore, Un italiano in America, Basta guardarla, La voglia matta, Ieri, oggi, domani, Oggi, domani, dopodomani (Kiss the Other Sheik, 1965), Il magnifico cornuto, Le bambole (The Dolls, 1965), Le streghe, NOTES 215

Lo scatenato (Catch as Catch Can, 1967), La pecora nera (The Black Sheep, 1968), and Il divorzio. These take place in a variety of locations; the first ten include scenes of striptease in nightclubs. 23. On the Italian mondo shockumentary, see Moliterno (2014). 24. The photos were originally published in L’Espresso, November 16, 1958, pp. 12–13. They are reproduced in Celant (1994: 328). 25. In the Italian context, it is difficult to judge the extent to which attending striptease performances was part of leisure practices during the 1960s, at least for an urban elite, as we lack an historical treatment of striptease in Italy similar to Mort’s study of London. 26. I follow Stephen Whittle in using the term “trans” to refer to “a ‘trans woman’ or ‘trans man’ (of whatever subtype of trans identity)” (2006: xi). The term covers a vast spectrum of gender presentations, from occasional cross-dressing to major medical interventions. It is useful when discussing the performers in Frenesia dell’estate because the film is vague about their gender presentations, which appear to take a variety of forms. 27. The Carrousel club was an internationally renowned center for trans performance. According to Maxime Foerster, Paris, and the Carrousel club in particular, “established themselves over the course of two decades (the 1950s and the 1960s) as the world capital of transgender cabaret culture” (2006: 87). Although far from a common presence, trans performers did appear elsewhere on Italian screens. The Carrousel club’s most famous star was Coccinelle, who appeared in Blasetti’s Europa di notte. Another trans star from the Carrousel, Bambi, appears in a brief nightclub performance in Costa Azzurra (where she is introduced as “the man who is more attractive than a woman”). As discussed in chapter 1, Sordi also hires a black trans dancer to work in his nightclubs in Il moralista. 28. I follow here the widespread use of the prefix “cis” to describe non- trans experiences, or in other words the experience of people whose assigned sex at birth, body, and gender identity coincide. For an early theorization of the term, see Julia Serano’s work (2007). 29. The consequences of not looking properly at the beach are highlighted in I mostri in the episode Latin Lovers. The brief sequence depicts a beach full of men looking at women’s bodies. It cuts to Tognazzi and Gassman, who are lying either side of the same woman, sunbath- ing with their eyes clothes and stroking her legs. When she gets up for a swim, the men’s fingers find each other and they clasp hands. The sequence ends with Tognazzi and Gassman holding hands; their eyes remain closed throughout. This could be a moment that chal- lenges heteronormativity—here we have two of the leading lights of the genre engaging in a public display of same-sex affection—but the comedy is essentially that of mistaken (gender) identity caused by a failure, precisely, to look. 216 NOTES

30. “Transvestite but a woman” (“Travestita ma donna”) appeared in the newspaper Il giorno on September 27, 1963. “The ‘transvestites’ who don’t scare us are like Michèle” (“I ‘travestiti’ che non ci spaventano sono come Michèle”) appeared in Corriere dell’Informazione, also on September 27, 1963. 31. “C.C.’s Striptease Scandalises Moralists” declared L’unità on October 16, 1964 (“Lo striptease di C.C. scandalizza i moralisti”). “Claudia Cardinale’s‘strip’ more daring than Loren’s,” proffered the Gazzetta del sud on October 24, 1964 (“Lo‘strip’ di Claudia Cardinale più audace di quello della Loren”). “Claudia strip” was the pithy title of L’Europeo’s four-page photo feature of set photos on October 25, 1964. 32. Stefano Masi recounts that Lollobrigida’s conviction was subse- quently lifted by an amnesty in 1967 (1999: 978n). 33. “La sequenza nella quale l’attrice Gina Lollobrigida appare distesa sul letto, mostrando metà del corpo nudo.” Letter from the Giudice Istruttore di Viterbo to the Ministero del Turismo e dello Spectacolo, April 12, 1965, held at the Archivio Centrale dello Stato.

4 Masculinity at Work: Offices in Comedy, Italian Style

1. The National Union of Cinematic Authors and Technicians (Unione Nazionale Autori Cinetecnici, UNAC) held a conference entitled “Cinema and the World of Work” in May 1968 (Garavelli, 1968); the Terni Rotary Club held a conference of the same name in January 1973 (Agostini and Cianci, 1973). Both conferences focused on representations of manufacturing. Although neither mention links with literature, their concerns echo the earlier debate in literary circles sparked by the 1961 edition of the literary periodical Il menabò which dealt with “literature and industry.” On the “literature and industry” debate, see De Michelis (1997: 845–50). More recent titles in Italian dealing with representations of work in cinema include Ricci (1997), Medici (2000), Medici and Rancati (2001), Sismondi and Tassi (2002), Veronesi (2004), and Cortellazzo and Quaglia (2007). 2. Exceptions include I compagni, which deals with an industrial dis- pute in a factory in turn-of-the-century Turin, and Omicron (1964) a comic science-fiction film that sees an alien take over the body of an Italian factory worker. Il maestro di Vigevano also includes a short scene showing Claire Bloom’s character at work in a shoe factory. 3. Patrizia Battilani and Francesca Fauri, in their history of the Italian economy, note that “in the thirty year period that ran from 1951 to 1981, the value added from the services sector grew at a rate similar or higher to that of the manufacturing sector” (2009: 27). “Tertiary sector” is not, of course, a synonym for “office work,” including a vast array of services such as education, health, leisure and entertainment NOTES 217

services, the hospitality industries, and tourism, which may not nec- essarily be connected to offices. 4. On the office employee in turn of the century Milan, see Soresina (1992), who mainly focuses on male office workers. On female office workers in the Italian post office at the turn of the century, see Maria Linda Odorisio (1996). 5. On the make-up of the Italian service sector in these years, see Ginsborg (1997: 237–8). In comparison to other countries, the public sector had particular cultural resonances in Italy. It employed dis- proportionately more Southern Italians. Sassoon, for example, notes that “by the beginning of the 1970s, 30.4 per cent of all salaries and wages in the South were due to employment in the public adminis- tration sector, while the Italian average was 20 per cent” (1997: 51). The public sector was also linked with the clientistic distribution of state jobs to bolster party political support. Ginbsorg discusses the Christian Democrats’ use of this practice, especially in the South, noting, for example, that by 1968 the number of municipal employ- ees in Naples had increased by almost 400 percent in the previous 15 years (1997: 178). 6. For an overview of the subsequent development of Italy’s service sector, see Patrizia Battilani’s article (2010). As she puts it: “While it took some 100 years for the share of the Italian population employed in the service sector to double (rising from 16 per cent in 1861 to 30 per cent in 1961), it only took a further 30 years for that figure to double once again (from 30 to 63 per cent during the period 1961–91)” (2010: 28). 7. On the Casa del Fascio, see Etlin (1991: 439–79). Like many architects working in Italy in the 1930s, the Rationalists were involved in the design of a number of projects for the Fascist regime. Although its proponents campaigned for Rationalism to be adopted as the official state architecture, it remained one of several rival modern- ist architectural movements that competed for Fascist commissions. On the links between Italian Rationalism and Fascism, see Ghirardo (1980) and Etlin (1991, especially Chapters 10–15). 8. On the Esposizione Universale, see Etlin (1991: 481–516). 9. On the history of American office design, including images of SOM’s Union Carbide building, see Donald Albrecht and Chrysanthe B. Broikos’ volume (2000). 10. On Italian debates and reactions to theories of scientific manage- ment, see Sapelli (1981: 634–54). 11. On Italian industrial design in the 1960s see Sparke (1988) and De Fusco (2007). For an overview of the use of design in Italian genre cinema, see Di Marino (2006). 12. These open plan offices echo Ermanno Olmi’s depiction of an open plan office in Il posto (1961), which follows a young boy at his first job in an office in Milan. With a young, working-class protagonist, 218 NOTES

Olmi’s film has a different class and generational focus to Comedy, Italian Style’s typically middle-class, middle-aged characters. Furthermore, it is less interested in the material modernity of the office than Comedy, Italian Style films. Rather than highlighting modernized elements such as standardized furniture or surveillance technology, Olmi focuses more instead on the emotional and spiri- tual experience of the protagonist and his bleak prospects as a cog in an organizational machine. 13. The narrative is a pun on an Italian idiom; rather than costing an “arm and a leg,” in Italian something very expensive costs “an eye from your head.” 14. It has been suggested that Luciano’s target in the film is the Pirelli Tower. In fact, the establishing shots of the tower that appear before the scenes in office interiors show the Torre Galfa, a tower completed in 1959 to house an oil company (on the Torre Galfa, see Greco and Mornati, 2012). There does nonetheless seem to be an attempt to remind viewers of the Pirelli Tower, as it appears in the background of the first establishing shot of the Torre Galfa. Furthermore, a model is used at the end of the film that bears more resemblance to the Pirelli than the Galfa. Rather than a specific concentration on any individual tower, the film associates the architectural form with a certain type of Italian modernity whose promises of prosperity could sway even the most ardent anti-capitalist activist. 15. There is a considerable body of scholarship on office work and femi- nization. See, for example, Anderson (1988), Strom (1992), Kwolek- Folland (1994), and de Haan (1998). This work has tended to focus on the period 1870–1930, leaving what Margaret L. Hedstrom (1988: 145) has called “a gap in our understanding of clerical work” after this period. In the Italian context, Anna Badino has recently stressed the lack of scholarship on women’s work in Italy during the economic miracle (2008: 35). 16. For details of the program La donna che lavora, see Grasso (2004: 78–9). 17. On the falling rate of women’s employment in the 1960s, see Willson (2010: 117–18). Silvana Patriarca charts how women’s work became increasingly invisible in census data in the period 1861–1936 due to “the adoption of narrower and more exclusive definitions of who qualified as a worker” (1998: 156). Anna Badino’s study of working- class women in Turin has shown similar processes at work in data collection in the 1960s; women were often involved in part-time, home-based or irregular employment, which was not included in official data (2008: 27), often because cultural expectations meant the women (or the husbands who answered for them) did not declare their other activities (2008: 105). 18. Il padre di famiglia represents one of the only examples I have found which deals with the conflict between working life and family life, or NOTES 219

the “dual presence,” which would become so central to Italian feminist thought in the 1970s. Manfredi’s character is represented as ini- tially sympathetic to his wife’s plight of having to balance work and family responsibilities. However, his wife’s identity crisis as she loses her profession to motherhood is very much relegated to a secondary plane; the film focuses almost entirely on Manfredi’s mid-life crisis and extra-marital affair as he becomes increasingly alienated from the hard work of child rearing. 19. There are of course exceptions, such as Sordi’s lingering gaze on his creditor’s secretary in Il boom, or Tognazzi’s affair with his secretary in Cuori solitari, but such sexualized secretary figures are relatively rare. 20. On print media coverage of “new female professions” in the 1950s, see Capussotti (2008: 164–8). 21. Merrill Schleier notes similar advice given to American women seek- ing office work in the 1930s: “Instead of the theatrical makeup worn by actresses, which was clearly in the minds of those offering advice, most manuals recommended a more subdued application of cosmet- ics so as to avoid looking tawdry” (2009: 115). 22. Oggi, May 25, 1961, p. 58. 23. Oggi, June 1, 1961, p. 71. 24. A related figure who appears repeatedly in the genre, and whose work is rarely acknowledged as work, is the prostitute. For a discussion of the figure of the prostitute and the space of the brothel in Comedy, Italian Style see Danielle Hipkins’ piece (2013) on the comedies Arrangiatevi! (You’re on Your Own, 1959) and Adua e le compagne (Adua and Company, 1960). 25. I have only found two other examples of female managers in the genre. Il vedovo stars Franca Valeri as a highly successful business woman. However, we never see her at work in her own office and her business acumen is more a foil for the ineptitude of her husband than a narrative interest in its own right. Una donna d’affari, an episode of Controsesso (Countersex, 1964), depicts a female manager who agrees to have casual sex with Manfredi, but they are constantly interrupted by her business commitments. The episode’s interest in the working life of the woman is minimal; it functions mainly as a joke on the irony of female emancipation, as professional success gets in the way of enjoying the fruits of sexual liberation. 26. My discussion of space and gender in Desk Set is indebted to Schleier’s analysis of the film (2009: 231–63).

5 Driving Passions: Cars in Comedy, Italian Style

1. For detailed statistics, see the tables on car ownership in Federico Paolini’s history of Italian motorization (2005: 272–279). 2. On the history of the utilitaria in Italy, see Calabrese (1996). 220 NOTES

3. Paolini notes, for example, that in 1958 there were 3,654,000 motorcycles and scooters in circulation in Italy, compared to only 1,392,525 cars (2005: 112). This suggests that during the 1950s Italy was becoming increasingly motorized, but not exclusively in the form of cars. 4. This figure appears in Castronovo (1975: 430), and is then cited in Sassoon (1997: 40) and Ginsborg (1990: 25). 5. On the “Motorway of the Sun,” see Menduni (1999). 6. On the road movie, see, for example, Cohan and Hark (1997), Laderman (2002), Mills (2006), Mazierska and Rascaroli (2006), and Orgeron (2008). Restivo’s work (1997) on Dino Risi’s Il sorpasso is one of the few contributions on Italian film that has appeared in studies of the road movie. 7. Epoca, December 8, 1963, p. 184. 8. Stephen Gundle notes that “although the Fiat 600 was comparatively inexpensive at 622,000 lire, this was still a considerable sum for a Fiat worker whose salary stood at 50,000 lire per month or for a white- collar worker earning up to 100,000 lire” (2000: 80). 9. Le ore, July 18, 1963, p. 58. 10. The selection of windscreen two-shots included in figures 5.5–5.9 is by no means exhaustive. Further similar compositions can be found, for example, in Racconti d’estate, Made in Italy, Thrilling, La bambolona (Big Baby Doll, 1968), Amore mio aiutami (Help Me My Love, 1969), Il commissario Pepe, La moglie del prete (The Priest’s Wife, 1970), Cuori solitari, and Le coppie. 11. Le ore, November 21, 1963, p. 72. For further paparazzi images of the celebrity couple framed in two-shot by the car windscreen, see Magistà (2007: 50–1). 12. See the plates in Lizzani (1998). Further set photos of driving sequences filmed on location include an image of Vittorio Gassman and Sylva Koscina sitting in a car during filming of Se permettete parliamo di donne (a sequence I discuss in more detail later in this chapter). The photo, included in Elisabetta Bruscolini’s edited volume of set photography (1996: 74), shows Gassman and Koscina framed by the car windscreen with a camera and lighting rigged on the back of the car. Sebastiano Mondadori’s volume of interviews with Mario Monicelli includes an image of Monicelli sitting on a car bonnet during a break in the filming of Casanova ’70 (2005: 38–9). The car, with Marcello Mastroianni at the wheel and Marisa Mell in the pas- senger seat, is rigged with lighting equipment. A photo taken on the set of Matrimonio all’italiana (see Di Monte, 1979: 294) shows a car being pulled along by a metal bar during filming. 13. Bruno Modugno, “Interview with Sandra Milo,” Le ore, August 1, 1963, p. 48. 14. Oggi, November 8, 1962, p. 5. NOTES 221

15. See, for example, Epoca, April 25, 1963, p. 148. 16. In a chapter of his Cinema of Economic Miracles, Restivo looks at car-related advertising that appeared in L’Espresso in 1964 (2003: 61–76). 17. “L’auto est un maison,” wrote Barthes in 1963 (1993: 1139). For Baudrillard, the car was a “demeure,” or a dwelling (1968: 95). 18. Gassman’s large, open-top convertible makes for much more con- venient framing, and lovemaking, than the awkwardly cramped sex session in the protagonist’s Fiat 850, filmed in tight close-ups, in La classe operaia va in paradiso (Lulu the Tool, 1971). 19. Pamela Robertson Wojcik has noted how Hollywood apartment films conflate the bachelor apartment and the bedroom: “each serves as synedoche for the other” (2010: 110). There are examples of bachelor pads in Comedy, Italian Style, such as Gassman’s in Lo scatenato or Manfredi’s in the final episode of Vedo nudo, both of which are characterized by a bold use of color and littered throughout with iconic objects of 1960s Italian design (it is no coincidence that both characters work in the “modern” industry of advertising). However, in Comedy, Italian Style, it is the car, and its potential for movement away from family ties, rather than the bachelor pad, which stands in for the bedroom. This is true for the Italian bachelor who still lives with his mother, such as Gassman in this episode of Se permettete parliamo di donne, to the numerous married men who use the car to meet people other than their wives for sex, such as Tognazzi’s character in the Vernissage episode of I mostri. 20. On the impact of the car on young Italians’ socializing habits away from the family, see Paolini (2005: 168–70). Both Scarpellini (2008: 143) and Paolini (2005: n186–7) note that access to driving licenses for priests was also restricted on the grounds of controlling their movement. 21. As David Forgacs and Stephen Gundle note, “By the late 1960s the mass use of the bicycle had become associated with the past and with a lower standard of living” (2007: 16).

6 Recipe for Change: Kitchens in Comedy, Italian Style

1. With the exception of Giovanna Brancato and Lorenzo Medici’s published undergraduate thesis on the kitchen (1995). 2. The pamphlet was published by the Milanese publisher Görlich, who also published the interior design magazine Rivista dell’arredamento (later Interni), from 1955 until 1979. The pamphlet represents one of the occasional monographs published on specific topics in associa- tion with the magazine. 3. See, for example, D’Apice (1981: 35–6, 52, 96–7), Gundle (1986: 583), Liguori (1996: 682), Crainz (1996: 84), Mafai (1997: 35), 222 NOTES

Dunnage (2002: 158), and Foot (2003: 138). The source cited most often as evidence for increased consumption of electrical appliances are the DOXA market research reports collected in Luzzatto Fegiz (1966: 1685–1719). 4. For an image of the T12 by Casé and an account of its place in the history of Italian kitchen design, see Pansera (1990: 153–5). 5. Epoca, March 3, 1963, p. 18. 6. This Carosello cycle, called “Let’s be honest with each other” (“Diciamoci la verità”), starred the comic actress Franca Valeri (for an example episode, see the DVD accompanying Croce [2008]). For more details on the cycle, see Giusti (2004: 449). 7. Oggi, June 13, 1963. The fridge advert from Pina’s wall appears on p. 69, the photo feature on La visita, titled “Wig and Padded Costumes for the Spinster” (“Parrucca e imbottiture per la zitella”), appears on pp. 32–3. 8. Oggi, June 8, 1961, p. 53. 9. For statistics on Italian domestic service from 1850 to the present day, see Sarti (2005: 100). 10. See, for example, Il tempo, April 3 and 5, 1958, or Il messaggero, April 2, 1958. 11. In her study of German advertising, Jennifer Loehlin notes the occasional presence in 1950s German women’s magazines of images of “the overworked or inept man trying to do housework, with the message that, since he wouldn’t be able to cope without proper equipment, there was no reason why his wife should struggle with old-fashioned methods” (1999: 117). To date, I have not come across any such role-reversal scenes in Italian advertising from the 1950s and 1960s.

Conclusion

1. Gente, May 18, 1962, p. 90. Filmography

1. Commedia all’italiana, 1958–1970: A filmography

A cavallo della tigre (Jail Break), dir. Luigi Comencini, 1961. Adua e le compagne (Adua and Company), dir. Antonio Pietrangeli, 1960. Adulterio all’italiana (Adultery, Italian Style), dir. Pasquale Festa Campanile, 1966. Alta infedeltà (High Infidelity), dir. Mario Monicelli, Franco Rossi, Elio Petri, and Luciano Salce, 1964. ——— Gente moderna (Modern People), episode dir. Mario Monicelli, 1964. ——— Peccato nel pomeriggio (Sin in the Afternoon), episode dir. Elio Petri, 1964. ——— Scandaloso (Scandalous), episode dir. Franco Rossi, 1964. ——— Sospirosa, episode dir. Luciano Salce, 1964. L’amore difficile (Sex Can Be Difficult), dir. Alberto Bonucci, Luciano Lucignani, Nino Manfredi, and Sergio Sollima, 1963. ——— L’avaro (The Miser), episode dir. Luciano Lucignani, 1963. ——— L’avventura di un soldato (The Soldier’s Affair), episode dir. Nino Manfredi, 1963. ——— Le donne (Women), episode dir. Sergio Sollima, 1963. ——— Il serpente (The Snake), episode dir. Alberto Bonucci, 1963. Amore mio aiutami (Help Me My Love), dir. Alberto Sordi, 1969. Anni ruggenti (Roaring Years), dir. Luigi Zampa, 1962. L’arcangelo (The Archangel), dir. Giorgio Capitani, 1969. L’arcidiavolo (The Devil in Love), dir. Ettore Scola, 1966. L’armata Brancaleone (Brancaleone’s Army), dir. Mario Monicelli, 1966. Arrangiatevi! (You’re on Your Own), dir. Mauro Bolognini, 1959. L’attico (The Attic), dir. Gianni Puccini, 1963. Audace colpo dei soliti ignoti (Fiasco in Milan), dir. Nanni Loy, 1959. Le bambole (The Dolls), dir. Mauro Bolognini, Luigi Comencini, Dino Risi, and Franco Rossi, 1965. ——— La minestra (Soup), episode dir. Franco Rossi, 1965. ——— Monsignor Cupolo, episode dir. Mauro Bolognini, 1965. ——— La telefonata (The Phone Call), episode dir. Dino Risi, 1965. ——— Il trattato di eugenetica (A Work of Eugenics), episode dir. Luigi Comencini, 1965. 224 FILMOGRAPHY

La bambolona (Big Baby Doll), dir. Franco Giraldi, 1968. I basilischi (The Basilisks), dir. Lina Wertmüller, 1963. Basta guardarla (Just Look at Her), dir. Luciano Salce, 1970. Il bell’Antonio (Bell’Antonio), dir. Mauro Bolognini, 1960. Boccaccio ’70, dir. Vittorio De Sica, Federico Fellini, Mario Monicelli, and Luchino Visconti, 1962. ——— Il lavoro (Work), episode dir. Luchino Visconti, 1962. ——— Renzo e Luciana (Renzo and Luciana), episode dir. Mario Monicelli, 1962. ——— La riffa (The Lottery), episode dir. Vittorio De Sica, 1962. ——— Le tentazioni del dottor Antonio (The Temptations of Dr. Antonio), episode dir. Federico Fellini, 1962. Il boom (The Boom), dir. Vittorio De Sica, 1963. Brancaleone alle crociate (Brancaleone at the Crusades), dir. Mario Monicelli, 1970. Brevi amori a Palma di Majorca (Vacations in Majorca), dir. Giorgio Bianchi, 1959. La bugiarda (The Lying Woman), dir. Luigi Comencini, 1965. La cambiale (The Credit Note), dir. Camillo Mastrocinque, 1959. Capriccio all’italiana (Capriccio, Italian Style), dir. Mauro Bolognini, Mario Monicelli, Pier Paolo Pasolini, Steno, and Pino Zac, 1968. ——— La bambinaia (The Nanny), episode dir. Mario Monicelli, 1968. ——— Che cosa sono le nuvole? (What Are Clouds?), episode dir. Pier Paolo Pasolini, 1968. ——— La gelosa (The Jealous Woman), episode dir. Mauro Bolognini, 1968. ——— Il mostro della domenica (The Sunday Monster), episode dir. Steno, 1968. ——— Perché? (Why?), episode dir. Mauro Bolognini, 1968. ——— Viaggio di lavoro (Business Trip), episode dir. Pino Zac, 1968. Il carabiniere a cavallo (The Horseback Policeman), dir. Carlo Lizzani, 1961. Casanova ’70, dir. Mario Monicelli, 1965. Certo, certissismo, anzi . . . probabile (Diary of a Telephone Operator), dir. Marcello Fondato, 1969. La cintura di castità (The Chastity Belt), dir. Pasquale Festa Campanile, 1967. Il commissario (The Police Chief), dir. Luigi Comencini, 1962. Il commissario Pepe (Police Chief Pepe), dir. Ettore Scola, 1969. I compagni (The Organizer), dir. Mario Monicelli, 1963. I complessi (Complexes), dir. Luigi Filippo D’Amico, Dino Risi, and Franco Rossi, 1965. ——— Il complesso della schiava nubiana (The Complex of the Nubian Slave), episode dir. Franco Rossi, 1965. ——— Una giornata decisiva (An Important Day), episode dir. Dino Risi, 1965. FILMOGRAPHY 225

——— Guglielmo il dentone (Buck-Toothed Guglielmo), episode dir. Luigi Filippo D’Amico, 1965. Con quale amore, con quanto amore (Such Love, So Much Love), dir. Pasquale Festa Campanile, 1970. La congiuntura (Hard Time For Princes), dir. Ettore Scola, 1965. Contestazione generale (Let’s Have a Riot), dir. Luigi Zampa, 1970. Controsesso (Countersex), dir. Renato Castellani, Marco Ferreri, and Franco Rossi, 1964 ——— Cocaina di domenica (Cocaine on Sunday), episode dir. Franco Rossi, 1964. ——— Una donna d’affari (A Businesswoman), episode dir. Renato Castellani, 1964. ——— Il professore (The Professor), episode dir. Marco Ferreri, 1964. Le coppie (Man and Wife), dir. Vittorio De Sica, Mario Monicelli, and Alberto Sordi, 1970. ——— La camera (The Room), episode dir. Alberto Sordi, 1970. ——— Il frigorifero (The Refrigerator), episode dir. Mario Monicelli, 1970. ——— Il leone (The Lion), episode dir. Vittorio De Sica, 1970. Costa azzurra (Côte d’Azur), dir. Vittorio Sala, 1959. Crimen, dir. Mario Camerini, 1960. La cuccagna (Land of Plenty), dir. Luciano Salce, 1962. I cuori infranti (Broken Hearts), dir. Vittorio Caprioli and Gianni Puccini, 1963. ——— La manina di Fatma (The Hand of Fatma), episode dir. Vittorio Caprioli, 1963. ——— E vissero felici (And They Lived Happily Ever After), episode dir. Gianni Puccini, 1963. Cuori solitari (Broken Hearts), dir. Franco Giraldi, 1970. Il diavolo (The Devil), dir. Gian Luigi Polidoro, 1963. Diciottenni al sole (Eighteen in the Sun), dir. Camillo Mastrocinque, 1962. Il disco volante (The Flying Saucer), dir. Tinto Brass, 1964. Il divorzio (Divorce), dir. Romolo Guerrieri, 1970. Divorzio all’italiana (Divorce, Italian Style), dir. Pietro Germi, 1961. I dolci inganni (Sweet Deceptions), dir. Alberto Lattuada, 1960. Le dolci signore (Anyone Can Play), dir. Luigi Zampa, 1967. Domenica è sempre domenica (Sunday is Always Sunday), dir. Camillo Mastrocinque, 1958. La donna è una cosa meravigliosa (Woman is a Wonderful Thing), dir. Mauro Bolognini, 1964. Dove vai tutta nuda? (Where Are You Going All Naked?), dir. Pasquale Festa Campanile, 1969. Dramma della gelosia (tutti i particolari in cronaca) (Jealousy, Italian Style), dir. Ettore Scola, 1970. I due nemici (The Best of Enemies), dir. Guy Hamilton, 1961. Fantasmi a Roma (Ghosts of Rome), dir. Antonio Pietrangeli, 1961. 226 FILMOGRAPHY

Le fate (The Queens), dir. Mauro Bolognini, Mario Monicelli, Antonio Pietrangeli, and Luciano Salce, 1966. ——— Fata Armenia, episode dir. Mario Monicelli, 1966. ——— Fata Elena, episode dir. Mauro Bolognini, 1966. ——— Fata Marta, episode dir. Antonio Pietrangeli, 1966. ——— Fata Sabina, episode dir. Luciano Salce, 1966. Il federale (The Fascist), dir. Luciano Salce, 1961. Il fischio al naso (The Seventh Floor), dir. Ugo Tognazzi, 1967. Frenesia dell’estate (Summer Frenzy), dir. Luigi Zampa, 1964. Fumo di Londra (Smoke Over London), dir. Alberto Sordi, 1966. Gastone, dir. Mario Bonnard, 1960. Il gaucho (The Gaucho), dir. Dino Risi, 1964. Il giovedì (Thursday), dir. Dino Risi, 1963. Il giudizio universale (The Last Judgement), dir. Vittorio De Sica, 1961. La grande guerra (The Great War), dir. Mario Monicelli, 1959. Ieri, oggi, domani (Yesterday, Today, and Tomorrow), dir. Vittorio De Sica, 1963. L’impiegato (The Employee), dir. Gianni Puccini, 1959. L’immorale (The Climax), dir. Pietro Germi, 1967. Intrigo a Taormina (Love, The Italian Way), dir. Giorgio Bianchi, 1960. Io, io, io . . . e gli altri (Me, Me, Me . . . And the Others), dir. Alessandro Blasetti, 1966. Io la conoscevo bene (I Knew Her Well), dir. Antonio Pietrangeli, 1965. Italian Secret Service, dir. Luigi Comencini, 1968. Un italiano in America (An Italian in America), dir. Alberto Sordi, 1967. Ladro lui, ladra lei (He’s a Thief, She’s a Thief), dir. Luigi Zampa, 1958. Liolà, dir. Alessandro Blasetti, 1964. Made in Italy, dir. Nanni Loy, 1965. Il maestro di Vigevano (The Teacher From Vigevano), dir. Elio Petri, 1963. Mafioso, dir. Alberto Lattuada, 1962. Il magnifico cornuto (The Magnificent Cuckold), dir. Antonio Pietrangeli, 1964. Il mantenuto (His Women), dir. Ugo Tognazzi, 1961. La marcia su Roma (March on Rome), dir. Dino Risi, 1962. Il marito (The Husband), dir. Nanni Loy and Gianni Puccini, 1958. Il marito è mio e l’ammazzo quando mi pare (He’s My Husband, and I’ll Kill Him When I Want To), dir. Pasquale Festa Campanile, 1968. La matriarca (The Libertine), dir. Pasquale Festa Campanile, 1968. Matrimonio all’italiana (Marriage, Italian Style), dir. Vittorio De Sica, 1964. Il mattatore (Love and Larceny), dir. Dino Risi, 1960. Il medico della mutua (Be Sick . . . It’s Free), dir. Luigi Zampa, 1968. Meglio vedova (Better a Widow), dir. Duccio Tessari, 1968. Ménage all’italiana (Ménage, Italian Style), dir. Franco Indovina, 1965. La mia signora (My Wife), dir. Mauro Bolognini, Tinto Brass, and Luigi Comencini, 1964. FILMOGRAPHY 227

——— L’automobile (The Car), episode dir. Tinto Brass, 1964. ——— Eritrea, episode dir. Luigi Comencini, 1964. ——— Luciana, episode dir. Mauro Bolognini, 1964. ——— I miei cari (My Loved Ones), episode dir. Mauro Bolognini, 1964. ——— L’uccellino (The Little Bird), episode dir. Tinto Brass, 1964. Una moglie americana (An American Wife), dir. Gian Luigi Polidoro, 1965. La moglie del prete (The Priest’s Wife), dir. Dino Risi, 1970. La moglie giapponese (The Japanese Wife), dir. Gian Luigi Polidoro, 1968. Le monachine (The Little Nuns), dir. Luciano Salce, 1963. Il moralista (The Moralist), dir. Giorgio Bianchi, 1959. I mostri (Opiate ‘67), dir. Dino Risi, 1963. I motorizzati (The Motorized), dir. Camillo Mastrocinque, 1962. Nell’anno del signore (The Conspirators), dir. Luigi Magni, 1969. Ninì Tirabusciò, la donna che inventò la mossa (Nini Tirabuscio), dir. Pasquale Festa Campanile, 1970. I nostri mariti (Our Husbands), dir. Luigi Filippo D’Amico, Dino Risi, and Luigi Zampa, 1966. ——— Il marito di Attilia (Attilia’s Husband), episode dir. Dino Risi, 1966. ——— Il marito di Olga (Olga’s Husband), episode dir. Luigi Zampa, 1966. ——— Il marito di Roberta (Roberta’s Husband), episode dir. Luigi Filippo D’Amico, 1966. Oggi, domani, dopodomani (Kiss the Other Sheik), dir. Eduardo De Filippo, Marco Ferreri, and Luciano Salce, 1965. ——— La moglie bionda (The Blonde Wife), episode dir. Luciano Salce, 1965. ——— L’ora di punta (Rush Hour), episode dir. Eduardo De Filippo, 1965. ——— L’uomo dei 5 palloni (The Man with 5 Balloons), episode dir. Marco Ferreri, 1965. L’ombrellone (Weekend Wives), dir. Dino Risi, 1965. Omicron, dir. Ugo Gregoretti, 1964. Operazione San Gennaro (Treasure of San Gennaro), dir. Dino Risi, 1966. Le ore dell’amore (The Hours of Love), dir. Luciano Salce, 1963. Il padre di famiglia (Head of the Family), dir. Nanni Loy, 1967. Parigi o cara (Paris, My Love), dir. Vittorio Caprioli, 1962. La parmigiana (The Girl From Parma), dir. Antonio Pietrangeli, 1963. La pecora nera (The Black Sheep), dir. Luciano Salce, 1968. Le piacevoli notti (Pleasant Nights), dir. Armando Crispino and Luciano Lucignani, 1966. Il presidente del Borgorosso Football Club (The President of Borgorosso F.C.), dir. Luigi Filippo D’Amico, 1970. Il Prof. Dott. Guido Tersilli primario della Clinica Villa Celeste convenzio- nata con le mutue (Dr. Tersilli’s Clinic), dir. Luciano Salce, 1969. Il profeta (The Prophet), dir. Dino Risi, 1968. 228 FILMOGRAPHY

Questa volta parliamo di uomini (Let’s Talk About Men), dir. Lina Wertmüller, 1965. Questi fantasmi (Ghosts, Italian Style), dir. Renato Castellani, 1967. Una questione d’onore (A Question of Honour), dir. Luigi Zampa, 1966. Racconti d’estate (Love on the Riviera), dir. Gianni Franciolini, 1958. La ragazza con la pistola (Girl With a Pistol), dir. Mario Monicelli, 1968. Riusciranno i nostri eroi a ritrovare l’amico misteriosamente scomparso in Africa? (Will Our Heros Find Their Friend Who Has Mysteriously Disappeared in Africa?), dir. Ettore Scola, 1968. Una rosa per tutti (A Rose for Everyone), dir. Franco Rossi, 1967. Rosolino Paternò, soldato (Situation Normal: A.F.U. (All Fouled Up)), dir. Nanni Loy, 1970. Satyricon, dir. Gian Luigi Polidoro, 1969. Lo scatenato (Catch as Catch Can), dir. Franco Indovina, 1967. Scusi, lei è favorevole o contrario? (Pardon, Are You For or Against?), dir. Alberto Sordi, 1966. Se permettete parliamo di donne (Let’s Talk About Women), dir. Ettore Scola, 1964. Sedotta e abbandonata (Seduced and Abandoned), dir. Pietro Germi, 1964. Serafino, dir. Pietro Germi, 1968. Signore e signori (The Birds, The Bees, and the Italians), dir. Pietro Germi, 1966. Sissignore (Dismissed on his Wedding Night), dir. Ugo Tognazzi, 1968. Slalom, dir. Luciano Salce, 1965. La smania adosso (The Eye of the Needle), dir. Marcello Andrei, 1963. Smog, dir. Franco Rossi, 1962. I soliti ignoti (Big Deal on Madonna Street), dir. Mario Monicelli, 1958. Il sorpasso (The Easy Life), dir. Dino Risi, 1962. Spara forte, più forte, non capisco (Shout Loud, Louder, I Don’t Understand), dir. Eduardo De Filippo, 1966. Splendori e miserie di Madame Royale (Madame Royale), dir. Vittorio Caprioli, 1970. Straziami ma di baci saziami (Torture Me But Kill Me With Kisses), dir. Dino Risi, 1968. Le streghe (The Witches), dir. Mauro Bolognini, Vittorio De Sica, Pier Paolo Pasolini, Franco Rossi, and Luchino Visconti, 1967. ——— Senso civico (Civic Duty), episode dir. Mauro Bolognini, 1967. ——— Una sera come le altre (An Evening Like Any Other), episode dir. Vittorio De Sica, 1967. ——— La siciliana (The Sicilian Woman), episode dir. Franco Rossi, 1967. ——— La strega bruciata viva (The Witch Burned Alive), episode dir. Luchino Visconti, 1967. ——— La terra vista dalla luna (Earth Seen From Space), episode dir. Pier Paolo Pasolini, 1967. Il successo (Success), dir. Mauro Morassi, 1963. FILMOGRAPHY 229

Tenderly, dir. Franco Brusati, 1968. Thrilling, dir. Carlo Lizzani, Gian Luigi Polidoro, and Ettore Scola, 1965. ——— L’autostrada del sole (The Motorway of the Sun), episode dir. Carlo Lizzani, 1965. ——— Sadik, episode dir. Gian Luigi Polidoro, 1965. ——— Il vittimista (The Self-Made Victim), episode dir. Ettore Scola, 1965. Ti ho sposato per allegria (I married You for Fun), dir. Luciano Salce, 1967. Il tigre (The Tiger and the Pussycat), dir. Dino Risi, 1967. Tipi da spiaggia (Beachcombers), dir. Mario Mattoli, 1959. Tre notti d’amore (Three Nights of Love), dir. Renato Castellani, Luigi Comencini, and Franco Rossi, 1964. ——— Fatebenefratelli, episode dir. Luigi Comencini, 1964. ——— La moglie bambina (The Child Wife), episode dir. Franco Rossi, 1964. ——— La vedova (The Widow), episode dir. Renato Castellani, 1964. I tre volti (The Three Faces), dir. Michelangelo Antonioni, Mauro Bolognini, and Franco Indovina, 1965. ——— Gli amanti celebri (Famous Lovers), episode dir. Mauro Bolognini, 1965. ——— Latin Lover, episode dir. Franco Indovina, 1965. ——— Il provino (The Screen Test), episode dir. Michelangelo Antonioni, 1965. Tutti a casa (Everybody Go Home), dir. Luigi Comencini, 1960. Vacanze d’inverno (Winter Holidays), dir. Camillo Mastrocinque, 1959. Vedo nudo (I See Naked), dir. Dino Risi, 1969. Il vedovo (The Widower), dir. Dino Risi, 1959. Venezia, la luna e tu (Venice, the Moon, and You), dir. Dino Risi, 1958. Venga a prendere il caffé da noi (Come Have Coffee With Us), dir. Alberto Lattuada, 1970. Una vergine per il principe (A Virgin for the Prince), dir. Pasquale Festa Campanile, 1965. Il vigile (The Traffic Policeman), dir. Luigi Zampa, 1960. La visita (The Visitor), dir. Antonio Pietrangeli, 1963. La vita agra (It’s A Hard Life), dir. Carlo Lizzani, 1964. Una vita difficile (A Difficult Life), dir. Dino Risi, 1961. La voglia matta (Crazy Desire), dir. Luciano Salce, 1962.

2. Other Films Cited

8 ½, dir. Federico Fellini, 1963. Un americano a Roma (An American in Rome), dir. Steno, 1954. The Apartment, dir. Billy Wilder, 1960. Bellissima, dir. Luchino Visconti, 1951. Bikini Beach, dir. William Asher, 1964. Bonnie and Clyde, dir. Arthur Penn, 1967. 230 FILMOGRAPHY

Bullitt, dir. Peter Yates, 1968. La caduta degli dei (The Damned), dir. Luchino Visconti, 1969. Camilla, dir. Luciano Emmer, 1954. La ciociara (Two Women), dir. Vittorio De Sica, 1960. La classe operaia va in paradiso (Lulu the Tool), dir. Elio Petri, 1971. Desk Set, dir. Walter Lang, 1957. La dolce vita, dir. Federico Fellini, 1959. Dr. No, dir. Terence Young, 1962. Divorce, American Style, dir. Bud Yorkin, 1967. Domenica d’agosto (August Sunday), dir. Luciano Emmer, 1950. Europa di notte (European Nights), dir. Alessandro Blasetti, 1959. Good Morning, Vietnam, dir. Barry Levinson, 1987. How the West Was Won, dir. John Ford, Henry Hathaway, George Marshall and Richard Thorpe, 1962. L’impiegata di Papà (Daddy’s Office Girl), dir. Alessandro Blasetti, 1933. L’ingorgo (Traffic Jam), dir. Luigi Comencini, 1979. Ladri di biciclette (Bicycle Thieves), dir. Vittorio De Sica, 1948. Lover Come Back, dir. Delbert Mann, 1961. Mon oncle, dir. Jacques Tati, 1958. Mondo Cane, dir. Paolo Cavara, Gualtiero Jacopetti and Franco Prosperi, 1962. Muscle Beach Party, dir. William Asher, 1964. La notte, dir. Michelangelo Antonioni, 1961. Le notti di Cabiria (Nights of Cabiria), dir. Federico Fellini, 1957. The Odd Couple, dir. Gene Saks, 1968. Ossessione, dir. Luchino Visconti, 1943. Pillow talk, dir. Michael Gordon, 1959. Playtime, dir. Jacques Tati, 1967. Il posto, dir. Ermanno Olmi, 1961. Prêt-à-porter, dir. Robert Altman, 1994. Psycosissimo, dir. Steno, 1962. Rocco e i suoi fratelli (Rocco and His Brothers), dir. Luchino Visconti, 1960. Lo scapolo (The Bachelor), dir. Antonio Pietrangeli, 1955. Lo sceicco bianco (The White Sheik), dir. Federico Fellini, 1952. The Secret Life of Walter Mitty, dir. Norman Z. McLeod, 1947. Il seduttore (The Seducer), dir. Franco Rossi, 1954. La segretaria per tutti (A Secretary for Everyone), dir. Amleto Palermi, 1933. La segretaria privata (The Private Secretary), dir. Goffredo Alessandrini, 1931. I sogni nel cassetto (Dreams in a Drawer), dir. Renato Castellani, 1957. Il sole negli occhi (Empty Eyes), dir. Antonio Pietrangeli, 1953. Some Like It Hot, dir. Billy Wilder, 1959. La spiaggia (The Beach), dir. Alberto Lattuda, 1954. La strada, dir Federico Fellini, 1954. FILMOGRAPHY 231

The Thrill of It All, dir. Norman Jewison, 1963. Tootsie, dir. Sydney Pollack, 1982. Treno popolare (Popular Train), dir. Raffaello Matarazzo, 1933. Umberto D., dir. Vittorio De Sica, 1952. Les Vacances de M. Hulot, dir. Jacques Tati, 1953. Victor, Victoria, dir. Blake Edwards, 1982. I vitelloni, dir. Federico Fellini, 1953. Zabriskie Point, dir. Michelangelo Antonioni, 1970. Bibliography

1. Archive Sources

Archivio Centrale dello Stato, Piazzale degli Archivi, Rome. Ministero del Turismo e dello Spettacolo. Direzione Generale Spettacolo: Divisione Cinema (Ministry of Tourism and Entertainment. Directorate General for Entertainment: Cinema Division). Le bambole, Letter from the Giudice Istruttore di Viterbo to the Ministero del Turismo e dello Spettacolo, April 12, 1965, fol. 4729. Il boom, Dino De Laurentiis Cinematografica S.p.a., “Dichiarazione analitica del costo effettivamente sostenuto” (“Declaration of actually incurred costs”), December 2, 1963, fol. 4176. Il maestro di Vigevano, Dino De Laurentiis Cinematografica S.p.a., “Dichiarazione analitica del costo effettivamento sostenuto” (“Declaration of actually incurred costs”), April 18, 1964, fol. 4372. Il mattatore, Maxima Film Compagnia Cinematografica S.p.a., “Dichiara- zione analitica del costo effettivamente sostenuto” (“Declaration of actually incurred costs”), August 13, 1960, fol. 3214. Il moralista, Avers Film Cinematografica Internazionale S.p.a., “Dichiara- zione analitica del costo effettivamente sostenuto” (“Declaration of actually incurred costs”), December 17, 1959, fol. 3086. Il moralista, Avers Film Cinematografica Internazionale S.p.a., “Piano di lavorazione” (“Shooting schedule”), [n.d], fol. 3086. I nostri mariti, Documento Film S.r.l., “Preventivo di spesa per il film” (“Estimated costs”), [n.d.], fol. 4974. Il successo, Fair film S.p.a., “Dichiarazione analitica del costo effettivamente sostenuto” (“Declaration of actually incurred costs”), February 24, 1964, fol. 4225.

2. Magazines

Consulted at the Biblioteca Nazionale, Rome. Epoca. Milan: Mondadori, 1963 [selected issues]. L’Espresso. Rome: Nuove Edizioni Romane, 1963 [selected issues]. L’Europeo. Milan: Rizzoli, 1963 [selected issues]. 234 BIBLIOGRAPHY

Gente. Milan: Rusconi, 1957–69 [selected issues]. Oggi. Milan: Rizzoli, 1957–69 [selected issues]. Le ore. Milan: [n. pub.], 1963 [selected issues]. Tempo. Milan: Rizzoli, 1963 [selected issues].

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Images are referenced in bold

8 ½ (F. Fellini, 1963), 139–40, in Comedy, Italian Style, 122–3, 212n2 168–9 amore difficile, L’ (A. Bonucci, L. A cavallo della tigre (L. Comencini, Lucignani, N. Manfredi, S. 1961), 148–9, 150, 158 Sollima, 1963), 70, 74, 75, 76, adaptation, 143, 185 77, 145 Adulterio all’italiana (P. Festa Amore mio aiutami (A. Sordi, Campanile, 1966), 37, 38, 50, 1969), 151, 220n10 53, 60–1, 100, 103, 147, Antonioni, Michelangelo, 5, 179, 180 82, 131 advertising, Italian, 102, 116, Apartment, The (B. Wilder, 1960), 134, 155 96, 110–11, 189 in Comedy, Italian Style, 105, arcangelo, L’ (G. Capitani, 1969), 109–10, 114, 122–3, 157, 169, 97, 100, 148 176, 187–8, 190 Arvidsson, Adam, 48, 49, 175 comparisons with Comedy, Asquer, Enrica, 164, 167, Italian Style, 50–1, 126, 175–6 133–4, 154–6, 165, 167–9, Audace colpo dei soliti ignoti (N. 174, 181–2, 194–5, 199–200 Loy, 1959), 50, 80, 81, 83, constructions of femininity, 112, 174, 214n22 115–17, 164, 172–3, 176, 178, audiences. See spectators 181–2, 154–6, 199–200 auteur cinema, 5, 45, 82, 131, 135, constructions of masculinity, 157, 177, 212n 101–3, 106, 199–200, 222n11 expansion of, 4, 48–9, 209n22 bambole, Le (M. Bolognini, L. Age and Scarpelli, 44, 207n10 Comencini, D. Risi, F. Rossi, Alta infedeltà (M. Monicelli, F. 1965), 90–1, 214n22 Rossi, E. Petri, L. Salce, 1964), bambolona, La (F. Giraldi, 1968), 46, 50, 70, 214n17 168, 220n America, influence of, 51, 104–5, Basta guardarla (L. Salce, 1970), 166–7, 175, 178 80, 170, 214n10 252 INDEX beaches, 65–80, 67, 69, 75, 77, Capriccio all’italiana (M. 92–4 Bolognini, M. Monicelli, P. in Comedy, Italian Style, 1–2, 5, Pasolini, Steno, P. Zac, 1968), 65–80, 88, 89, 92–4, 197–9 46, 139, 140 as crowded, 66, 67, 68–70, 71, Cardinale, Claudia, 43, 90–1, 174, 140–1, 142, 199 192–3 as “everyday” space, 6, 70–1 Carosello, 48, 122–3, 167, 172 and female body, 7, 11, 34–5, Carrousel club, 84, 215n27 66–7, 67, 72–80, 91, cars, 129–62, 134, 136, 140, 141, 92–4, 197 144–51, 155, 173, 186, 198 in Hollywood cinema, 77–8 accidents, 54, 138–9 links with other spaces, 93–4, AGIP (Azienda Generale Italiana 95–6, 118, 127, 137, 138, Petroli), 133, 134, 154, 140–1, 142, 198–9, 212n6 155, 157 and male gaze, 35, 65, 76–80, in auteur cinema, 131–2, 135, 77, 83, 88, 213n15 139–40, 143–4 in other media, 66–7, 67, 71, in Comedy, Italian Style, 1–2, 3, 74–6, 199, 213n10 5, 19, 37, 68, 109, 129–62 and sex, 73–4 convertibles (fuoriserie), 2, 3, 11, and tourism, 66, 68–71, 67, 73, 34, 129, 135, 138, 154, 155, 74, 140–1 198–9, 34 see also bikinis dashboards and radios, 131, Bellassai, Sandro, 95, 101, 106 135–7, 136, 138 bicycles, 137, 159, 221n21 economy cars (utilitaria), 11, bikinis, 66–7, 67, 73–80, 75, 77 129, 130, 133, 134–5, 138, in Comedy, Italian Style, 35, 14 6 –7, 157, 198 – 9 65–6, 74–5, 75, 76–80, 77, 88 and femininity, 153–5, 158–9, as luxury beach experience (vs. 161, 186 crowded beach), 66–7, 67, in Hollywood cinema, 132, 152–3 141, 198–9 links with other spaces, 74, 95, in other media, 66, 67, 75–6, 98, 127, 141, 159, 172, 173, 93, 212n1 177, 188, 199–200, 212n6 see also beaches and masculinity, 11, 34–5, 98, Bocca, Giorgio, 49, 74 101, 137–8, 158–61 Bondanella, Peter, 58, 59, 60 mass motorization, 47, boom. See economic miracle 130–1, 139–41 boom, Il (V. De Sica, 1963), 43, 50, and movement, 8, 138, 143, 103, 109, 111, 133, 139, 168, 150–3, 158–62, 149–54, 169, 179, 207n9, 208n11 158–62 Bordwell, David, 20, 21, 22–3 in other media, 133–4, 134, Brevi amori a Palma di Majorca (G. 140–1, 141, 146–7, 149, Bianchi, 1959), 67 154–6, 155 Brunetta, Gian Piero, 40, 57–8, 72 purchase scenes, 129, 131–2, Bruno, Giuliana, 16, 29–30, 32 133–5, 138 Burch, Noël, 20, 22 and sex, 8, 74, 153, 154, 156–61, Butler, Judith, 27 188, 198 INDEX 253

traffic jams, 1, 129, 131, 139–43, Comencini, Luigi, 44, 57–8, 142 140, 199 commedia all’italiana. See Comedy, windscreens, 35, 144–52, 158, Italian Style 198, 35 commedia dell’arte, 39, 207n4 see also bicycles; FIAT; scooters; commissario, Il (L. Comencini, travelling shots; two-shots 1962), 46, 144 Casanova 70 (M. Monicelli, 1965), commissario Pepe, Il (E. Scola, 39, 80, 81, 105, 139, 146, 1969), 135, 136, 179, 180, 214n22, 220n12 220n10 Certo, certissimo, anzi… probabile compagni, I (M. Monicelli, 1963), (M. Fondato, 1969), 192–3 39, 216n2 Chiari, Walter, 113, 129, 178 complessi, I (L. F. D’Amico, D. Risi, cities, in cinema, 32–3, 206n10 F. Rossi, 1965), 99 Comand, Maria Pia, 44, 56, 59–60 congiuntura, La (E. Scola, 1965), comedian comedy, 3, 52–5, 67, 70, 76, 77, 146 125, 190 consumer culture, 1–6, 10–11, comedy 34–5, 47–51, 58, 101, 111–12, and gender, 39–40, 199–200 133–7, 163–4, 166–70, 175–7, in Italian cinema, 38–9, 44–5, 209n24 207n3 Contestazione generale (L. Zampa, see also comedian comedy; 1970), 97 romantic comedy Controsesso (R. Castellani, M. Comedy, Italian Style, 37–61 Ferreri, F. Rossi, 1964), 139, and auteurism, 57–8, 59 219n25 critical reception, 56–60, 210n30 coppie, Le (V. De Sica, M. Monicelli, definition, 2, 38, 55 A. Sordi, 1970), 68, 69, 70, endings, 54–5, 111, 125–6, 160, 71–2, 212n6, 220n10 190–1, 209–10n28 Costa azzurra (V. Sala, 1959), 65, and everyday life, 1–3, 5, 6–7, 9, 67, 76, 77, 79, 80, 81, 82, 83, 34, 38, 50, 55, 61, 70, 199, 200 92, 214n22, 215n27 “everyman” protagonist, 54, 59, cuori infranti, I (V. Caprioli, G. 60, 137, 191–2 Puccini, 1963), 8, 70, 165, links with other media, 5, 10, 182, 187–9 46–7, 208n16 Cuori solitari (F. Giraldi, 1970), production costs, 43–5, 207n9, 100, 135, 151, 219n19, 207n10, 208n11, 208n12 220n10 sexual double standard, 60, 79, 92, 93, 201–2 Day, Doris, 167, 190–1 and social change, 5, 50–1, 58, De Certeau, Michel, 16, 205n3 60–1, 71, 74–5, 93, 200–1 De Lauretis, Teresa, 153 and social critique, 7, 57, 58–9, De Sica, Vittorio, 39, 43, 159, 60, 211n34 208n12 stars, 3, 38, 42–3, 44, 52–3, 58, design, industrial, 100, 105–7, 108, 89–91, 207n8 110, 121, 164–7, 169, 171–2, see also under individual films, 221n19 stars and filmmakers Desk Set (W. Lang, 1957), 118, 124–5 254 INDEX diavolo, Il (G. L. Polidoro, 1963), 46 see also beaches; cars; kitchens; Diciottenni al sole (C. nightclubs; offices Mastrocinque, 1962), 67–8, 70, 71, 73, 74, 75, 76 Fabrizi, Franco, 43, 44, 65 disco volante, Il (T. Brass, 1964), factories, 97–8, 106, 184, 216n2 146, 170 fate, Le (M. Bolognini, M. divorce, 4, 55, 193 Monicelli, A. Pietrangeli, L. Divorce, American Style (B. Yorkin, Salce, 1966), 50, 147, 168 1967), 39 federale, Il (L. Salce, 1961), 45 divorzio, Il (R. Guerrieri, 1970), Fellini, Federico, 45, 46, 82, 131, 210n28, 215n22 135, 139–40, 212n2 Divorzio all’italiana (P. Germi, feminism, 4, 33, 195, 202–3, 1961), 39, 54–5 218–19n18 dolce vita, La (F. Fellini, 1959), 82, feminist film theory, 16, 29, 131, 135, 209n20, 212n2 59–60 dolci inganni, I (A. Lattuada, Ferrero, Anna Maria, 83, 214n18 1960), 139, 144 Festa Campanile, Pasquale, 44, 57 dolci signore, Le (L. Zampa, 1967), Fiat, 108, 130–1, 154, 155, 157 80, 214n22 Fiat 500 and 600, 129, 130, Domenica è sempre domenica (C. 133, 134–5, 138, 146–7, 157, Mastrocinque, 1958), 163, 220n8 179–81 fischio al naso, Il (U. Tognazzi, domestic space. See kitchens 1967), 97 Dove vai tutta nuda? (P. Festa Forgacs, David, 16, 22, 49, 73, 74, Campanile, 1969), 168 209n25 Dramma della gelosia (E. Scola, Formica, 163, 167, 171–2, 195 1970), 139, 148 Frenesia dell’estate (L. Zampa, 1964), 7–8, 66, 68, 69, 71, 80, Eco, Umberto, 39–40 82, 84–6, 87–92, 90, 187, 197, economic miracle, 3–5, 34, 47–9, 214n22 68, 98, 101, 130–1, 145–6, Frye, Northrop, 56, 59 163–4, 165–7 links with Comedy, Italian Style, Gassman, Vittorio, 1–3, 38, 42, 34, 47, 50–2, 55 44, 46, 52, 53, 81, 83, 84–6, Europa di notte (A. Blasetti, 1959), 87, 88, 97, 106, 113, 138, 139, 23, 82, 215n27 146–7, 149, 157–8, 160, 168, “everyday” spaces, 6, 7–8, 32–4, 174, 176–7, 207n8, 215n29, 197, 199 220n12, 221n19 as crowded, banal, massified, 1, gaucho, Il (D. Risi, 1964), 68, 69 66–9, 69, 106–7, 107, 139–43, gender, 26–8 140, 141 binaries, 8, 15, 66, 78, 84–9, as luxury, 3, 50–1, 71–2, 100, 92–3, 153, 182 105–6, 108, 135, 138, 167–8 see also advertising; comedy; tension between banal and luxury masculinity; media, Italian; versions, 66–7, 67, 105–7, space; transgender 138–9, 141, 198–9 genre, 8–9, 33, 40–2 INDEX 255

and repetition, 9, 17, 26, 33, 166 King, Geoff, 52, 54, 210n28 see also comedian comedy; kitchens, 8, 11, 33–4, 34–5, comedy; romantic comedy 163–95, 168, 175, 180, 183, geography, 16, 26, 28, 206n7 192, 198, 200 Germi, Pietro, 39, 44, 57 “anti-modern,” 170, 182–3, 194 Giacovelli, Enrico, 44, 51, 54, 56, in Comedy, Italian Style, 1–2, 5, 66, 69, 132, 137, 164 8, 163, 167–71, 168, 173–93, Ginsborg, Paul, 98, 130–1, 166 175, 180, 183, 192, 198–200 giovedì, Il (D. Risi, 1963), 70, 103, and femininity, 6, 8, 11, 33–4, 113, 145 35, 172–3, 175, 194, 198, 201 Grande, Maurizio, 51, 56, 59 in Hollywood cinema, 167, grande guerra, La (M. Monicelli, 189–91, 193 1959), 39, 45, 206n1, 208n12 links with other spaces, 6, 114, Gundle, Stephen, 49, 51, 73, 74, 133, 159, 164, 172, 173, 177, 209n25, 211n34 181, 188, 195, 197, 199–200, Günsberg, Maggie, 41–2, 44, 201 50, 56, 58, 59, 72, 93, 107, and masculinity, 8, 35, 182–95, 112–13, 132, 137, 156 183, 192, 198, 199–200, 201 modern, “American-style,” Heath, Stephen, 20, 21, 22–3 165–9, 168, 175, 186, 194 Hepburn, Katharine, 118, 124–5 Nixon and Krushchev “kitchen Hollywood, 10, 38, 41, 54, 77–8, debate,” 33–4 86–7, 96–7, 110–11, 118, 122, in other media, 165–6, 167, 169, 124–5, 130, 132, 143, 152–3, 172–3, 178, 187, 188, 194, 166–7, 189–91, 193 200, 222n11 homosexuality, 60, 86, 191–3, 200, see also Formica; housewives; 214n17, 215n29 housework; maids housewives, 154, 173, 175–7, 178, Koscina, Sylva, 43, 138, 157–8, 181–2, 185–6, 190–1, 194 220n12 housework, 165, 174, 176–7, 181–2, 183–91, 198 Ladri di biciclette (V. De Sica, 1948), 159 Ieri, oggi, domani (V. De Sica, Ladro lui, ladra lei (L. Zampa, 1963), 39, 90, 208n, 214n22 1958), 46 impiegato, L’ (G. Puccini, 1959), 8, Lanzoni, Rémi Fournier, 51, 95, 96, 105, 118–26, 120, 127, 56, 58 198, 199, 210n28 Lattuada, Alberto, 44, 68, 170 ingorgo, L’ (L. Comencini, Lefebvre, Henri, 24–6, 27, 34, 1979), 142 206n6 intersectionality, 31, 32, 179 leisure spaces. See beaches; Intrigo a Taormina (G. Bianchi, nightclubs 1960), 67 Lemmon, Jack, 86, 96, 110–11, Io la conoscevo bene (A. Pietrangeli, 189, 193 1965), 70, 138, 153, 157 lesbianism, 32, 38, 200 italiano in America, Un (A. Sordi, Lisi, Virna, 43, 44 1967), 80, 214n22 Lizzani, Carlo, 44, 109, 152 256 INDEX location shooting, 18–19, 55, marito, Il (N. Loy and G. Puccini, 152–3, 220n12 1958), 46, 76, 144, 173, Lollobrigida, Gina, 90–1, 216n32, 179, 181 216n33 masculinity Loren, Sophia, 39, 45, 90–1, and difference, 11, 107, 137, 198 208n12 and failure, 3, 11, 96, 107, 186, 189–90, 199–200, 203 Made in Italy (N. Loy, 1965), 80, and success, 101–3, 107, 109, 139, 140, 220n10 110, 111, 126, 127, 198–9 maestro di Vigevano, Il (E. Petri, see also advertising; cars; kitchens; 1963), 8, 43, 139, 159–60, offices 165, 182–5, 183, 190, 199, Massey, Doreen, 26, 27, 28, 34 207n9, 207n10, 208n11 Mastrocinque, Camillo, 44, 58 Mafioso (A. Lattuada, 1962), 46, Mastroianni, Marcello, 39, 43, 44, 70, 78–9, 92, 97, 100, 106, 54–5, 91, 208n12, 220n12 107, 168, 170, 171, 173, 177 Mastronardi, Lucio, 182, 185 magazines, 4, 23, 47–8, 71, 74, 76, matriarca, La (P. Festa Campanile, 82, 140, 146–7, 154–6, 169, 1968), 50, 148, 168 208–9n20, 209n22 Matrimonio all’italiana (V. De Sica, Epoca, 47, 134, 154, 155, 167, 1964), 39, 208n12, 220n12 208n19 mattatore, Il (D. Risi, 1960), 80, L’Espresso, 47, 76, 82, 155, 156, 82, 83, 171, 174, 175, 207n9, 213n14, 214n19 207n10, 208n11, 214n18 L’Europeo, 47 Mayniel, Juliette, 146–7, 149 Gente, 47, 209n22 media, Italian Il Mondo, 89–90 constructions of gender, 92–3, Oggi, 47, 101–2, 116, 155, 169, 112, 199–200, 202–3 178, 209n22 expansion of, 4–5, 47–8 Le ore, 47, 66, 67, 71, 74, 140–1, see also advertising; magazines; 141, 146–7, 149, 152, 154 television as source for Comedy, Italian medico della mutua, Il (L. Zampa, Style, 47 1968), 38, 54, 133, 134 Tempo, 47, 154 Ménage all’italiana (F. Indovina, magnifico cornuto, Il (A. 1965), 81, 139, 147 Pietrangeli, 1964), 50, 90–1, Mercier, Michèle, 43, 85–6, 146, 150, 151, 157, 179, 87–90, 90 210n28, 214n22 mia signora, La (M. Bolognini, T. maids, 163, 165, 177–82, 190, 194, Brass, L. Comencini, 1964), 198. See also kitchens 135, 136, 146 Manfredi, Nino, 37, 38, 42, 52, 53, Micciché, Lino, 40, 56–7 95, 113, 118, 124–5, 129, 179, Milan, 78, 82, 104, 109, 110, 187–9, 191–3, 202, 207n8, 113, 131 214n17, 218–19n18, 219n25, Milo, Sandra, 43, 152 221n19 modernity, material aspects of, 100, mantenuto, Il (U. Tognazzi, 1961), 104–5, 108, 121, 133, 165–6, 70, 97, 106 171–2, 195, 197 INDEX 257 moglie del prete, La (D. Risi, 1970), Piper Club, 80–1, 214n19 151, 220n10 and transgender, 31, 37, 84–9, monachine, Le (L. Salce, 1963), 92, 215n27 106, 138, 139 see also striptease Mondo cane (P. Cavara, G. nostri mariti, I (L. F. D’Amico, D. Jacopetti, F. Prosperi, Risi, L. Zampa, 1966), 8, 165, 1962), 82 168, 171, 179, 182, 185–7, Monicelli, Mario, 44, 46, 57–8, 199, 207n9, 208n11 211n, 211n34, 220n12 notti di Cabiria, Le (F. Fellini, moralista, Il (G. Bianchi, 1959), 7, 1957), 157 15, 19, 20–1, 22, 23, 28, 30–2, 38, 54, 80, 81, 83, 99, objectification, 11, 65, 72–3, 114, 117, 119, 144, 207n9, 77, 78–9, 93–4, 123, 137, 207n10, 208n11, 208n12, 201–2, 203. See also beaches; 214n22, 215n27 nightclubs; striptease Moschin, Gastone, 43, 44, Odd Couple, The (G. Saks, 1968), 108, 139 193 mostri, I (D. Risi, 1963), 45, 53, offices, 34–5, 94, 95–127, 99, 100, 70, 74, 75, 76, 77, 103, 133, 102, 107, 116, 120, 197–8 134, 136, 145, 156–7, 170, in Comedy, Italian Style, 1–2, 8, 208n12, 210n28, 215n29, 15, 34–5, 37, 95–6, 97–100, 221n19 105–12, 114–15, 118–26, motorizzati, I (C. Mastrocinque, 197–9 1962), 100, 106, 107, 129, and femininity, 96, 112–27, 176, 133, 135, 138, 139, 145, 197–200 153, 157 in Hollywood cinema, 96–7, Mulvey, Laura, 28, 29, 30–1, 59, 110–11, 118, 124–5 66, 77, 85 links with other spaces, 6, 70, music, pop, 68, 70, 72, 76, 80, 93–4, 95, 96, 98, 114, 118, 135, 213n8 127, 133, 137, 158, 172, 176, 181, 197–9 neorealism, 7, 18, 40, 57, 58–9, and masculinity, 6, 11, 34, 170, 173, 210–11n33 95–6, 98, 101–3, 106–12, nightclubs, 20–4, 30–2, 65–6, 126–7, 198 80–94, 117 open plan offices, 11, 105–7, 107, in Comedy, Italian Style, 7–8, 15, 119–21, 120, 126, 198–9, 20–4, 28, 30–2, 37, 65–6, 79, 217–18n12 80–94, 81, 92, 117, 135, 158 in other media, 101–3, 102, 112, and female body, 11, 22, 28, 115–17, 116, 199–200 30–2, 65–6, 79, 81–4, 92–4, private executive offices, 11, 117, 198, 214n21 99–101, 99, 100, 103, 105–6, in Hollywood cinema, 86–7 108–10, 124, 126, 158, 198–9 links with other spaces, 6, 22, rationalization, 95–6, 105–6, 66, 88, 91, 92–4, 95, 96, 119–21, 166 118, 127, 197–9 secretaries, 96, 102, 113–18, in other media, 23, 82, 93 121, 176, 181, 198 258 INDEX

Oggi, domani, dopodomani (E. De Questa volta parliamo di uomini (L. Filippo, M. Ferreri, L. Salce, Wertmüller, 1965), 170, 202 1965), 103, 151, 168, 214n22 ombrellone, L’ (D. Risi, 1965), Racconti d’estate (G. Franciolini, 68–9, 69, 71, 74, 80, 103, 1958), 67, 71, 74, 75, 76, 77, 139, 140 220n10 Operazione San Gennaro (D. Risi, ragazza con la pistola, La 1966), 80, 81, 147 (M. Monicelli, 1968), O’Rawe, Catherine, 10, 39, 57, 58 38, 39, 52–3, 153 ore dell’amore, Le (L. Salce, 1963), Restivo, Angelo, 58, 72, 155–6 70, 74 Rhodes, John David, 17, 103, Ossessione (L. Visconti, 1943), 205n3 144, 173 Rigoletto, Sergio, 60, 191–2 padre di famiglia, Il (N. Loy, Risi, Dino, 1, 44, 45, 57–8, 1967), 70, 113, 139, 147, 207n10, 220n6 218–19n18 Riusciranno i nostri eroi a ritrovare parmigiana, La (A. Pietrangeli, l’amico misteriosamente 1963), 70, 79 scomparso in Africa? (E. Scola, Pasolini, Pier Paolo, 5, 46 1968), 97, 139 Petri, Elio, 43, 46, 207n10 Riva, Mario, 179–80 Pietrangeli, Antonio, 44, 46, 52, road movies, 132, 152, 220n6 211n37 Rocco e i suoi fratelli (L. Visconti, pink neorealism, 39, 54 1960), 157, 177 Playtime (J. Tati, 1967), 97, 141–2 romantic comedy, 125, 190 Ponti, Gio, 104, 105 Rome, 38, 46, 68, 80, 82, 97–8, posto, Il (E. Olmi, 1961), 177, 103, 113, 122, 129, 135, 138, 217–18n12 157, 191 presidente del Borgorosso Football EUR, 103 Club, Il (L. F. D’Amico, 1970), Ross, Kristin, 33, 130, 138 97, 170 Rossi Drago, Eleanora, 95, 118, print media. See magazines 123, 124, 127 Prof. Dott. Guido Tersilli primario della Clinica Villa Celeste (L. Salce, Luciano, 44, 46, 57–8 Salce, 1969), 100 Salerno, Enrico Maria, 43, 191 profeta, Il (D. Risi, 1968), 1–3, 38, Sandrelli, Stefania, 43 53, 54, 67, 68, 69, 69–70, 106, scatenato, Lo (F. Indovina, 1967), 107, 139, 140, 142, 148, 168, 100, 105, 138, 139, 148, 169, 174, 175, 176–7 215n22, 221n19 prostitutes, 156–7, 188–9, 219n24 sceicco bianco, Lo (F. Fellini, 1952), Puccini, Gianni, 44, 118, 187 45, 46, 212n2 Purdie, Susan, 40, 199 Schleier, Merrill, 16, 97, 105, 109 Scola, Ettore, 44, 45, 57, 202 queer theory, 60, 191–2. See also scooters, 130, 137, 156, 220n3 homosexuality; lesbianism; Scusi, lei è favorevole o contrario? (A. transgender Sordi, 1966), 50, 74, 113, 135 INDEX 259

Se permettete parliamo di donne (E. 149–53, 158, 197, 202. See Scola, 1964), 45, 139, 145, also adaptation; cities; everyday 151, 157–8, 170, 202, 220n12, spaces; location shooting; shot/ 221n19 reverse-shot; travelling shots; Secret Life of Walter Mitty, The (N. two-shots Z. McLeod, 1947), 118 space, in society, 24–6 secretaries. See offices and gender, 26–8, 34 Sedotta e abbandonata (P. Germi, and place, 16–17 1964), 171 and time, 25, 31 sequence shots, 53, 158, 177 spectators Serafino (P. Germi, 1968), in Comedy, Italian Style, 30–1, 38, 170 32, 65, 76–9, 83–4 shot/reverse-shot, 20–1, 23–4, historical, 10, 23, 89 28, 30, 83, 151–2, 151, 158, Splendori e miserie di Madame 214n21 Royale (V. Caprioli, 1970), Signore e signori (P. Germi, 1966), 148, 192 44, 80, 81, 82, 83, 133, 147, streghe, Le (M. Bolognini, V. De 179, 214n22 Sica, P. Pasolini, F. Rossi, Sissignore (U. Tognazzi, 1968), 50, L, Visconti, 1967), 46, 174, 100, 105, 107–9, 110, 111, 214–15n22 126, 138, 139 striptease, 20–1, 22, 23, 30–2, Slalom (L. Salce, 1965), 80, 151 66, 79–80, 81–3, 85, 88–91, smania addosso, La (M. Andrei, 117. See also nightclubs; 1963), 174, 175, 214n18 objectification soliti ignoti, I (M. Monicelli, 1958), Stryker, Susan, 87–8, 92 39, 45, 50, 174, 208n12 successo, Il (M. Morassi, 1963), 113, Some Like It Hot (B. Wilder, 136, 145, 153, 160, 168, 170, 1959), 86 174, 207n9, 208n11 Sonego, Rodolfo, 44, 52 swimwear. See bikinis Sordi, Alberto, 3, 10, 15, 20–1, 23, 28, 30–2, 38, 42, 43, 45, 46, Tati, Jacques, 97, 141–2 52, 53–4, 78–9, 109, 111, 113, television, 4–5, 46, 47, 48, 93, 112, 133, 152, 158–60, 170, 173, 122–3, 167, 178, 200, 202–3, 179, 181, 182–7, 189, 207n8, 208n15 219n19 in Comedy, Italian Style, 122–3, sorpasso, Il (D. Risi, 1962), 38, 45, 145–6, 179–80 54, 67, 68, 69, 72, 74, 75, Thrill of It All, The (N. Jewison, 76, 77, 113, 135, 136, 138–9, 1963), 167, 190–1 144, 150, 151, 160, 208n12, Thrilling (C. Lizzani, G. L. 220n6 Polidoro, E. Scola, 1965), sound, 22, 76, 135, 153. See also 70, 152, 168, 178, 179, 180, music, pop 220n10 Spaak, Catherine, 37, 43, 60, 80 tigre, Il (D. Risi, 1967), 50, space, in cinema, 5–6, 16–24, 81, 97 25–6, 30–1, 34–5, 66, 82–3, Tipi da spiaggia (M. Mattoli, 1959), 92–3, 132, 143, 144–5, 67, 70, 72, 76, 80 260 INDEX

Tognazzi, Ugo, 38, 42, 45, 46, 50, vedovo, Il (D. Risi, 1959), 46, 52, 81, 107–10, 111, 113, 114, 99, 171, 179, 180, 210n28, 129, 134, 142–3, 156, 157, 219n25 163, 179–81 Victor, Victoria (B. Edwards, Tootsie (S. Pollack, 1982), 86 1982), 86 Tracy, Spencer, 118, 124–5 vigile, Il (L. Zampa, 1960), 53–4, transgender, 31, 32, 37, 84–9, 91–2, 99, 139, 140, 174, 175 185–7, 189, 215n26, 215n27, Visconti, Luchino, 5, 19, 144 215n28 visita, La (A. Pietrangeli, 1963), travelling shots, 68–9, 143–5, 59–60, 152, 153, 168, 168–9, 148–53 177, 178, 187 Tre notti d’amore (R. Castellani, vita agra, La (C. Lizzani, 1964), L. Comencini, F. Rossi, 1964), 106, 107, 109–11, 113, 114, 70, 74, 75, 138, 146 126, 139, 140, 142–3 Trintignant, Jean-Louis, 54, 139 vita difficile, Una (D. Risi, 1961), Tutti a casa (L. Comencini, 1960), 45, 46, 50, 54, 57, 59, 67, 46, 206n1 158–9, 171, 208n12 two-shots, 35, 143–52, 144, 145, vitelloni, I (F. Fellini, 1953), 45, 46, 146, 147, 148, 149, 150, 151, 131, 212n2 161, 220n10 Vitti, Monica, 43, 52–3 voglia matta, La (L. Salce, 1962), Umberto D (V. De Sica, 1952), 68, 70, 133, 135, 136, 144, 173, 181 212n6, 214n22

Valeri, Franca, 83, 129, 135, 153, Wagstaff, Christopher, 38, 219n25, 222n6 210–11n33 Vedo nudo (D. Risi, 1969), 8, 100, Wertmüller, Lina, 44, 202 114, 119, 138, 165, 182, 191–3, 192, 221n19 Zampa, Luigi, 44, 58