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IMDbPro

Amor en la ciudad

Título original: L'amore in città
  • 1953
  • Not Rated
  • 1h 55min
PUNTUACIÓN EN IMDb
6,5/10
1,6 mil
TU PUNTUACIÓN
Amor en la ciudad (1953)
DramaRomance

Añade un argumento en tu idiomaSix separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques o... Leer todoSix separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.

  • Dirección
    • Michelangelo Antonioni
    • Federico Fellini
    • Alberto Lattuada
  • Guión
    • Aldo Buzzi
    • Luigi Chiarini
    • Luigi Malerba
  • Reparto principal
    • Rita Josa
    • Rosanna Carta
    • Enrico Pelliccia
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    6,5/10
    1,6 mil
    TU PUNTUACIÓN
    • Dirección
      • Michelangelo Antonioni
      • Federico Fellini
      • Alberto Lattuada
    • Guión
      • Aldo Buzzi
      • Luigi Chiarini
      • Luigi Malerba
    • Reparto principal
      • Rita Josa
      • Rosanna Carta
      • Enrico Pelliccia
    • 11Reseñas de usuarios
    • 17Reseñas de críticos
  • Ver la información de la producción en IMDbPro
  • Ver la información de la producción en IMDbPro
  • Imágenes4

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    Reparto principal32

    Editar
    Rita Josa
    • (segment "Tentato suicidio")
    Rosanna Carta
    • (segment "Tentato suicidio")
    Enrico Pelliccia
    • (segment "Tentato suicidio")
    Donatella Marrosu
    • (segment "Tentato suicidio")
    Paolo Pacetti
    • (segment "Tentato suicidio")
    Nella Bertuccioni
    • (segment "Tentato suicidio")
    Lilia Nardi
    • (segment "Tentato suicidio")
    Lena Rossi
    • (segment "Tentato suicidio")
    Maria Nobili
    • (segment "Tentato suicidio")
    Antonio Cifariello
    Antonio Cifariello
    • Giornalista (segment "Agenzia matrimoniale, Un'")
    Livia Venturini
    • (segment "Agenzia matrimoniale, Un'")
    Maresa Gallo
    • (segment "Agenzia matrimoniale, Un'")
    Angela Pierro
    • Madame (segment "Agenzia matrimoniale, Un'")
    Rita Andreana
    • (segment "Agenzia matrimoniale, Un'")
    Lia Natali
    • (segment "Agenzia matrimoniale, Un'")
    Cristina Grado
    • (segment "Agenzia matrimoniale, Un'")
    Ilario Malaschini
    • Attilio (segment "Agenzia matrimoniale, Un'")
    Sue Ellen Blake
    Sue Ellen Blake
    • (segment "Agenzia matrimoniale, Un'")
    • Dirección
      • Michelangelo Antonioni
      • Federico Fellini
      • Alberto Lattuada
    • Guión
      • Aldo Buzzi
      • Luigi Chiarini
      • Luigi Malerba
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios11

    6,51.5K
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    10

    Reseñas destacadas

    4sashank_kini-1

    The sum effect of the Love in The City's six segments is zilch, and that's what makes the film a devoid-of-director's-passion fruitless watch.

    Love is the City is an anthology film of six segments badly assembled. There is a theme of love that underlies each segment in different and unique ways, but there is no pattern or connection that makes this 'love' representative of love in Italy. Without a unifying structure, we feel like poor Daffy Duck from Duck Amuck, constantly subjected to the film's inexplicably changing tones. We give up ultimately, disappointed and spurned.

    This movie could've left its happier, lighter moments for the first half, and the bleak, poignant moments for the second. Or vice versa. Its abandonment of an overall rhythm makes it damningly ineffectual. One of the film's directors (and these are major Italian directors whose best films have been regarded among the finest in world cinema) apprises us seconds before first the segment begins, that 'we should not be expecting the genric Hollywood style of representation. This movie shall not rouse our passion like a Marilyn Monroe flick'. I'd rather have switched my DVD to Monroe's Seven Year Itch and be bewitched with her beauty than watch this. Love in a city is sadly a passionless film, cold and colorless as a whole; it's a modified version of the proverb 'Too many cooks spoil the broth' – here, the six cooks or rather Masterchefs together create no broth!

    Instead, each one throws in his flavors, ignoring what the others are making. After the dishes are made, there is a chaos in the kitchen because everybody has created something highly dissimilar from the others: now how shall they serve this to the hungry guests? One of the six 'Masterchefs', probably Carlo Lizzani, nervously shows up and tells the guests just how 'different' this experience shall be, because the ingredients include non-actors who give first-hand account of their experience. He fingerpoints rival Hollywood offerings, blaming them for being simple, straight and unmemorable. The guests looks on wide-eyed, anticipating something challenging and unique.

    Dish number one enters. It's called 'Paid Love', and Carlo Lizzani has prepared it. The name itself suggests that its got something to do with prostitutes. There's a narrator here who takes his camera to desolate streets at night to film streetwalkers. Many prostitutes play themselves as if they are being interviewed extempore. Vallie is questioned about shoes, Tilde says she takes ten cups of coffee everyday, another talks about being abandoned at a young age. Anna, a harlot with a manly appearance, if filmed at home where we learn 'she'll read Mickey Mouse before she goes to bed'. All the subjects occupy the centre of the frame. The bleakness of their existence is captured well. Would've been ironic had the interviewer himself used the services of the prostitute at the end, but that's not what this film intends to show. It remains like a documentary for the fifteen or so minutes it stays on screen.

    The next dish is brought out. There is a flurry of excitement among the guests when the name Michelangelo Antonioni is heard. Slowly they see a couple of faces usher in and stand in front of a huge wall. Another narrator introduces them as 'people who had attempted suicide and were here to share their experience'. Raw stories of unfulfilled love, of deceit are shared by the people, one after the other as they relive their haunting experience. Many unsettling images come up, like when one woman speaks of the moment when she had fainted after plunging into the river, and as she speaks the image of the flowing water is captured as though it's her that's floating. It's an eerie piece all in all.

    Dish three is a peppy one by Dinio Risi with waltzing, dancing, swinging, flirting and wall-flowering guys and gals. That's more than an adequate description for the piece. Dish four soon makes guests quiver with mad excitement as the name 'Fellini' is pronounced. This part includes a third-person view of the narrator, a journalist who investigates marriage agencies to learn what people are willing to do to get married. Led by sprightly little boys and girls to Mrs. Cibele's office, our journalist, after a small talk with her husband, tells Mrs.Cibele about a 'friend who suffers from a werewolf syndrome and can only be cured if he gets married'. To the journalist's surprise (there's no such friend, obviously), Mrs. Cibele agrees to find a girl for his friend and gets him one without any difficulty. Later it's found that the girl is highly impoverished and is desperate to marry anyone who can take good care of her.

    Dish five, the most elaborate one (not in terms of content but rather in terms of duration) deals with an impoverished hapless mother's love for her child which reunites the two ultimately, inspite of her attempts to abandon him. A haunting score is heard often, as if angels from the heaven above are lamenting this woman's misery and pathos. But there's little for us to care for this woman or this child to even bother sympathising with them. Dish six is sexyy, perky and quirky, capturing pretty, glowy busty women from far and up-close, and the never-ceasing dirty male gaze.

    Each dish has moments but it is when the six (or seven) 'Masterchefs' or directors – Lizzani, Antonioni, Risi, Fellini, duo Zavattini and Masseni and Lattuada – announce 'That's a wrap! Thank you for coming to the show', that the guests (we, obviously) begin wondering "What exactly have you given us?" The sum effect of the six segments is zilch, and that's what makes Love in The City a devoid-of-director's-passion fruitless watch.
    7gavin6942

    What Those New Wave Italians Did Right

    Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.

    The anthology film is hard to do, especially with a multitude of directors, each with their own style. But it seems to be something the Italians did well, which makes great sense in retrospect. Though they could not have predicted DVD in 1953, they might have known that a bigger name (Fellini) would draw audiences and expose them to others.

    Is this New Wave, or is it neo-realist? I feel like it's on the cusp. Being post-war and using many real people as actors, it tends to have that realist quality. But, there are enough quirks (such as the cartoon soundtrack of the final chapter) to make it a big more New Wave. I don't know.
    8vjdino-37683

    An experiment of newsreel, today we will say docufilm, recited according to the stylistic elements that would later become cinema-truth, with a splash of neorealism.

    An experiment of newsreel, today we will say docufilm, recited according to the stylistic elements that would later become cinema-truth, with a splash of neorealism. All supervised by Cesare Zavattini, with the involvement of directors who will make the history of Italian cinema. Among other episodic films whose typology, born for production reasons, will assert itself in a fluctuating way in the following years. Perhaps the adjective desperate had to be added to the subject love of the title, in fact apart from the amusing episodes filmed by Risi and Blasetti, the latter a little repetitive on Italic guardonism, the rest sheds light on episodes of social sadness following the post-war years, which did not predict a rapid economic development, reaching the maximum of drama in the episode of Maselli, a news item that aroused a lot of emotion, written with four hands with Zavattini. The episode with the most stylistic rigor is the Fellini episode, with shots that anticipate the subsequent masterpieces. The episodes signed by Lizzani, on prostitution not yet regulated by Merlin, and Antonioni, on suicide attempts, are rather colorless. However, an experiment of cinematography, little known, which presupposed a sequel that was never realized.
    8TheLittleSongbird

    Very well done

    I saw L'Amore in Citta as part of my Fellini quest. And I have to say that I found the film very interesting. Separated into five segments by five different directors, it is charming, sometimes heart breaking and I was always intrigued. All the segments are filmed absolutely beautifully especially Fellini's and Lattuada's. The music is always great, ranging from nostalgic(Rissi), bright(Fellini, though nostalgic comes under him also) and poetic(Lattuada). Of the segments my personal favourite is Lattuada's, especially for the beautiful scoring and the poetic ending. Rissi's is also very charming, very simple story but beautiful everywhere else. My least favourite, though still good, is Zavattini's, I love the climax which is very touching, as is the scene with the mother on the edge of the fountain, but found the very ending jarring compared with the scene before it and the rest of the neorealistic feel of the segment. Antonioni's documentary-like approach is interesting and the interviews are fascinating, not just the subject matter but also what there is to say. I saw L'Amore in Citta for Fellini, and apart from an ending that I think could have had more to it he doesn't disappoint. The beautiful visuals, deliberate pacing, nostalgic yet mystical story telling and colourful music are all there, and Fellini's poetic and quite ambitious style is as distinctive as you would expect. All in all, a very well done film. 8/10 Bethany Cox
    7cpwillett

    Omnibus cine-rivista

    While this was not the best work by any of the directors, it's still fascinating. Something not mentioned in the other reviews is that the film uses a framing device of a magazine--this is issue #1 of a cinema journal, with each short film introduced like an article, with a byline. It reminded me of Vertov's Kino-pravda series in that respect.

    All of the stories are supposedly real-life, but some seem more real than others. In classic neorealistic style, all of the actors are non- professional, but it goes beyond that. Zavattini's segment, which has the strongest narrative, shows newspaper headlines suggesting it's entirely true; Antonioni's seems staged until one of the characters shows a scar that looks very real. Fellini's is the least documentarian segment, but still affecting.

    Más del estilo

    Luces de varieté
    7,1
    Luces de varieté
    El jeque blanco
    7,2
    El jeque blanco
    Los vencidos
    6,5
    Los vencidos
    Almas sin conciencia
    7,5
    Almas sin conciencia
    Ensayo de orquesta
    7,1
    Ensayo de orquesta
    Entrevista
    7,0
    Entrevista
    Boccaccio '70
    7,0
    Boccaccio '70
    Los clowns
    7,0
    Los clowns
    Crónica de un amor
    7,1
    Crónica de un amor
    Ginger y Fred
    7,2
    Ginger y Fred
    La voz de la luna
    6,3
    La voz de la luna
    La ciudad de las mujeres
    6,9
    La ciudad de las mujeres

    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      As well as directing one of the segments, Cesare Zavattini also co-wrote five of them.
    • Conexiones
      Referenced in Chto? Gde? Kogda?: 2002 Autumn Series. The First Game (2002)

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    Preguntas frecuentes

    • How long is Love in the City?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 27 de noviembre de 1953 (Italia)
    • País de origen
      • Italia
    • Idioma
      • Italiano
    • Títulos en diferentes países
      • Love in the City
    • Localizaciones del rodaje
      • Baretto, Roma, Lacio, Italia(segment "Italiani si voltano, Gli")
    • Empresa productora
      • Faro Film
    • Ver más compañías en los créditos en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      1 hora 55 minutos
    • Color
      • Black and White
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.33 : 1

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