We All Loved Each Other So Much (1974)

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  1. llanes13

    llanes13 Guest


    Rating: 8.0/10 (985 votes)
    Runtime: 124 min
    Language: Italian With English Subtitle
    Country: Italy
    Color: Black and White / Color (Technicolor)
    IMDb Link:
    Director: Ettore Scola
    Nino Manfredi ... Antonio
    Vittorio Gassman ... Gianni Perego
    Stefania Sandrelli ... Luciana Zanon
    Stefano Satta Flores ... Nicola Palumbo
    Giovanna Ralli ... Elide Catenacci, Romolo's daughter
    Aldo Fabrizi ... Romolo Catenacci
    Mike Bongiorno ... Himself
    Federico Fellini ... Himself
    Marcello Mastroianni ... Himself

    Description: Antonio, Gianni e Nicola hanno combattuto con i partigiani durante l'ultimo conflitto mondiale. Alla Liberazione i tre si perdono di vista. Antonio diventa portantino di Ospedale; Nicola fa il critico cinematografico fallito; Gianni sposa, senza amore, Elide, la figlia di un rozzo ed arrogante arricchito, ottenendo soldi e successo, ma anche solitudine ed infelicità. Tutti e tre, in tempi diversi, hanno una storia con Luciana, aspirante attrice. Alla fine Antonio sposerà Luciana e continuerà a lottare con lei per i propri diritti; Nicola lascerà casa e famiglia; Gianni, ormai vedovo e solo, non riuscirà a confidare agli amici, incontrati per caso, le proprie sconfitte. "Volevamo cambiare il mondo, ma il mondo ha cambiato noi!", commenta sconsolato uno dei protagonisti.

    "We All Loved Each Other So Much" is the forgettably awkward title of Ettore Scola's wise, reflective Italian comedy that examines 30 years of recent Italian social history in terms of the friendship of three men and the one woman each man has loved at one time or another. It's the sort of thing for which European film makers, especially Italian, have a special feeling, while Americans have none whatsoever, if only because American producers are made uneasy by movies that are about friendship and that attempt to cover so much time.
    "We All Loved Each Other So Much," which opened yesterday at the Beekman, is full of fondness, rue, outrage and high spirits. It is also—surprising for an Italian film—packed with the kind of movie references that French filmmakers like, and it is dedicated to the late Vittorio DeSica, whose "Bicycle Thief" plays a prominent part in the picture.
    The three men, who have become friends as leftist partisans near the end of the Nazi occupation of Italy, are Giovanni, a lawyer (Vittorio Gassman). Antonio (Nino Manfredi), who begins his postwar career as a hospital orderly (and remains one for the rest of his life, and Nico (Stefano Satta Flores), a politically committed movie nut who doesn't hesitate to abandon his wife and child to go off to Rome after a disagreement over the merits of "The Bicycle Thief."
    The woman who moves in and out of their lives is Luciana (Stefania Sandrelli), an aspiring actress, the high point of whose career (and one of the high points of the film) comes when she is cast as an extra in "La Dolce Vita." The scene that Mr. Scola recreates is the preparation for Anita Ekberg's walk through the Trevi fountain, complete with Marcello Mastrcianni actually sitting on the sidelines as Federico Fellini directs (and receives a tribute from a policeman who says, "I've always admired your films, Mr. Rossellini").
    The film's principal storyline has to do with the decline and fall of the lawyer, Giovanni, into successful opportunism, a role that Mr. Gassman has played before, but which he does with immense gallantry and humor as he goes from youth to middle-age. Also extremely good are Aldo Fabrizi, as the crooked industrialist who becomes Giovanni's father-in-law, and Giovanna Ralli as the fat, bird-brained rich girl whom Giovanni marries and transforms into a chic, bored woman who comes to identify herself—fatally—with the women in Antonioni movies.
    Mr. Scola, who has been represented here both as a writer ("Il Sorpasso") and director ("Made in Italy," "The Pizza Triangle," among others), employs a comic style that is effective for being loose, allowing him to introduce real people as themselves, to parody "Strange Interlude's" spoken interior thoughts, to go from slapstick to satire and then to drama of genuine feelings.
    At its best, the film combines a number of different emotions at once, as when the film-obsessed Nico attempts to teach Luciana the fundamentals of Sergei Eisenstein's theory of montage on Rome's Spanish Steps, all the while seducing her.
    Though the film is very funny at moments, the dominant mood is a sense of loss, but even here the film makes its point in a backhanded way. "We wanted to change the world, but the world changed us," says Antonio, the aging hospital orderly. Yet Mr. Scola recognizes this as the windy cliché of someone given to self-dramatization. After 30 years the three friends are more worn, more tired, more experienced than they were as young men, but neither the world nor time has changed them in any essential ways. That's the bitter truth.

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    Rar Password: None 
    Also Known As:C'eravamo tanto amati (1974)

    César Awards, France
    1977 Won César Best Foreign Film

    Italian National Syndicate of Film Journalists
    1975 Won Silver Ribbon Best Supporting Actor Aldo Fabrizi
    Best Supporting Actress Giovanna Ralli

    Moscow International Film Festival
    1975 Won Golden Prize Ettore Scola

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