L'oro di Napoli - Pizze a credito

by Vittorio De Sica


Italy - December 3, 1954 - L'oro di Napoli - 131'/107'
France (Cannes) - April 30, 1955 - L'or de Naples - 110'
West Germany - December 2, 1955 - Das Gold von Neapel - 111'
Spain - 1955 - Oro de Napoles -
Belgium - 1955 - L'or de Naples / Het goud van Napels -
Sweden - December 5, 1955 - Neapels guld -
USA (New York City, Paris Theater) - February 11, 1957 - The Gold of Naples / Every Day's a Holiday - 74'

German poster Belgian poster Italian poster Italian DVD


A beautiful pizza maker leaves a precious ring, given to her by her husband, at the house of her lover. The woman tells her husband she lost the ring while kneading pizza dough, so the couple goes looking for it. After searching in vain, the lover arrives and returns the ring, saying he found it in a pizza. (Enrico Lancia)
Story from a short story of same name by Giuseppe Marotta


Via Materdei, Naples

Filming dates: February - March 1954


Pizze a credito - Pizzas on credit / La pizzaiola

Sophia Loren (Sofia)
Giacomo Furia (Rosario, her husband)
Alberto Farnese (Alfredo, Sofia's lover)
Paolo Stoppa (don Peppino the widower)


Carlo Montuori
Alessandro Cicognini

Costume design:
Pia Marchesi
Still photographer:
Sergio Strizzi
Ponti - De Laurentiis (Rome)


The film is made up of six episodes. The others are: Il guappo (The Racketeer) with Totò; Funeralino (The Little Funeral); I giocatori (The Gamblers) with Vittorio De Sica; Teresa with Silvana Mangano; Il professore (The Professor) with Eduardo De Filippo. The segment Funeralino was deleted from all release versions, and the short segment on Il professore only appeared in the original Italian version. Italian DVD prints now have all episodes. The American dubbed version is called Every Day's a Holiday.

The twenty-minute episode is memorable for a scene of Sophia strutting through the neighborhood during a rainstorm, with her drenched dress clinging to her body, her bosoms bouncing and her eyes flashing at every man she passes. And as it happens, Sophia catches bronchial pneumonia from the artificial downpours during a cold February month in Naples. She will be sick for one month.

Sophia is terrorized with the idea of being directed by one of the greatest Italian filmmakers and, for the first and last time in her life, she drinks up two cognacs prior to her first scene on the first day of shooting.

First participation of Sophia with Vittorio De Sica who would become her mentor and friend. He signed her in the film without even giving her a screen test. "Magnificent, he says, there is no other woman to put in the part". Every film Sophia acted under De Sica's direction shows the best of her action capacities.


"A revelation. She was created differently, behaved differently, affected me differently, from any other woman I have known. I looked at that face, those unbelievable eyes, and saw it all as a miracle. (...) The outstanding quality was her impulsiveness. Neapolitans are extroverts. All her gestures and statements were always outgoing. Nothing is held inside. No internal reflection. I don't say this only of Sophia, all we Neapolitans are the same. We improvise. We speak first, think later. The women are not particularly elegant. In fact they generally have bad taste in clothes. They go by instinct. With Sophia, in her private life, in her love, in her work and in her passions, she is always instinctive, never calculating."
Vittorio De Sica in Donald Zec's book Sophia: An intimate biography.

"From the first day De Sica became my school, my teacher, my mentor, my everything. Every day he would arrive on the set and say, 'Ah, Sophia cara, it's so beautiful to see you first thing in the morning, you make my day!' I couldn't have found anyone better to be with me in the beginning of my career."
Sophia Loren in Sophia Loren: A Biography by Warren G. Harris.

" (Her) self-congratulating look seemed to say, look at me, I’m all woman and it will be a long time before you see such a woman again. She took a long, unforgettable walk in the rain through the streets of the city, drinking the applause of venal eyes."
Time magazine.

"She knew that Gold of Naples, under de Sica's direction, could take her out of the two-bit movies into the international scene. She went on the set shaking with terror. And de Sica knew it. He placed both his hands over hers. "Listen, there's nothing to worry about. Don't act. I show you." He did not direct her. He wooed a performance from her. That seductive technique was to continue for seven more pictures. A flawless fusion of talents."
Donald Zec, Sophia: An intimate biography.

"I managed to uncover the crucial element of her personality: Sophia had erected a wall around herself, around that deep, secret part of her that her emotions rendered more vulnerable. She had a habit of hiding behind that wall and she liked it there. But her real nature was dramatic and volatile, typically Neapolitan, and her reactions - joy, sorrow, anger, impatience, everything - were excessive. So she kept them well hidden behind that wall. But when she performed, she could climb over that wall and liberate her real, profound emotions. She was capable of shouting, laughing, being hysterical, seducing, arguing, reaching very high emotional peak."
Vittorio De Sica in Sophia by Stefano Masi & Enrico Lancia.

"You are a natural force. Respond with your entire body. Every bit of you must count, including the tips of your little fingers."
Vittorio De Sica in The Films of Sophia Loren by Tony Crawley.

Copyrights for all photos belong to their respective owners.
© Excelsior Communication - 2007

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