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| English title |
A Husband for Anna |
| Original title |
Un marito per Anna Zaccheo |
In West Germany: Fluch der Schönheit (1954 - 95') - In Great Britain: A Husband for Anna (1956 - 75')
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| Year |
1953 |
| Running time |
95' |
| Nationality |
Italy |
| Genre |
Drama |
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| Production |
Domenico Forges Davanzati |
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| DIRECTION |
GIUSEPPE DE SANTIS |
| Subject |
Giuseppe De Santis, Alfredo Giannetti, Salvatore Laurani, Cesare Zavattini |
| Screen-play |
Giuseppe De Santis, Alfredo Giannetti, Salvatore Laurani, Cesare Zavattini, Elio Petri, Gianni Puccini |
| Photography |
Otello Martelli |
| Scenography |
Carlo Egidi |
| Customs |
Paolo Ricci |
| Music |
Rino da Positano |
| Sound |
Giovanni Rossi |
| Editing |
Gabriele Varriale |
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PLOT, CRITIQUE and NOTES
The dream of a good marriage brings the plump Anna Zaccheo to a series of tragic experiences: to have the dowry with which marry the sailor Andrea (Girotti), she accepts to be a fashionmodel (and the image of her legs scandalizes the district); the holder of the agency (Nazzari) takes advantage of her, and then disappears pushing her to try the suicide; Antonios wealth (Spadaro) gives her only of what to live and certain not love; her beauty pushes men to offer her vulgar employments or worse, and at the end also the beloved Andrea reveals that his prejudices are stronger than love.
Sad portrait of a female condition, told using the materials of the low and folk culture, from the choice of the protagonist (a generous and provocative Pampanini that has a bath as mama has done her) to the places of the commercialization or the schematization of the woman (the sceneggiata, the cinema, the publicity, the fun fairs booths). The didactic plant, however, penalizes the narrative structure: the absence of an intrigue and an evolution in Annas misadventures symbolically expressed by the equality between the first and the last shot, to close the circle of the immobility as it already happened in Roma ore 11 - it makes the film less exciting, and opens it to the risks of the generalization, making of the main characters the annoyng symbols of the eternal conflict between man and woman. (P. Mereghetti Dizionario dei film 1998, translated by Alice Castoldi)
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