Tag Archives: Ave Ninchi

Luciano Emmer – Parigi è sempre Parigi AKA Paris is Always Paris (1951)

Parigi e Sempre Parigi (Paris is Always Paris) was the second feature-length effort from famed Italian documentary director Luciano Emmer. Whereas Emmer’s first feature, Domenica d’Agosto (Sunday in August) was a warm-hearted study of the Italian middle class, Parigi concentrates on a gentle cultural clash between a band of Italian sports fans and the citizenry of Paris. The hero, DeAngelis (Aldo Fabrizi), has heard so much about “naughty Paree” that he’s determined to experience that naughtiness first hand. This plot device, of course, obliges the director to introduce several delectable French mademoiselles in the proceedings. Ultimately, DeAngelis realizes that reports of French libertinism have been grossly exaggerated, but he has a high old time finding this out. Read More »

    Pietro Germi – La presidentessa AKA Mademoiselle Gobete (1952)

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    Based loosely on fact, La Presidentress stars Silvana Pampanini as a sexy nightclub singer with loftier aspirations. Posing as the wife of a judge, the singer manages to bed a high-ranking government official (Carlo Dapporto). As a result, the nonplused judge (Luigi Pavese) is given all sorts of promotions and special perks. When he finds out about the girl’s subterfuge, his first reaction is stark, raw terror: Wait till his real wife (Ave Ninchi) discovers what’s going on! When the judge’s former mistress (Marilyn Buferd) joins the fray, the fur really begins to fly. Read More »

      Aldo Fabrizi – La famiglia Passaguai AKA The Passaguai Family (1951)

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      PLOT SYNOPSIS:
      Dalla commedia Cabina 27 di Anton Germano Rossi.
      Una domenica al mare di Ostia del cavalier Peppe Passaguai con la moglie e i tre figli. Una macchina comica romanesca che ha le sue ascendenze nel repertorio del teatro dialettale, dell’avanspettacolo e dell’umorismo del settimanale Travaso degli anni ’30 ma anche postbellico, arricchito da trovate più cinematografiche (l’anguria) e da notazioni di costume sulla piccola borghesia. Soprattutto nel primo tempo non mancano le gag azzeccate né le macchiette colorite, appoggiate a caratteristi già affermati (T. Scotti) o in erba (C. Delle Piane). Fu seguita da La famiglia Passaguai fa fortuna (1952) e Papà diventa mamma (1953).
      (Morandini) Read More »