FILE FILM

A HUSBAND FOR ANNA
DIRECTION: Giuseppe De Sanis

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')
Year 1953
Running time 95'
Nationality Italy
Genre Drama
Production Domenico Forges Davanzati
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
 CAST

Nello Ascoli
Silvana Pampanini Anna Zaccheo
Amedeo Nazzari doctor Illuminato
Massimo Girotti Andrea
Umberto Spadaro father Antonio
Monica Clay
Anna Galasso
Dora Scarpetta
Agostino Salvietti
Edoardo Imperatrice
Franco Bologna
Giovanni Berardi
Enrico Glori
Enzo Maggio
Nando Di Claudio
Renato Terra
Carletto Sposito

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; Antonio’s 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 Anna’s 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)