|French poster||Italian poster||German poster||American poster|
Vittorio De Sica (il maresciallo Antonio Carotenuto)
Sophia Loren (donna Sofia, nicknamed ‘Smargiassa’, the Heckler)
Lea Padovani (donna Violante Ruotalo)
Mario Carotenuto (don Matteo Carotenuto)
film is the third in the series inaugurated by Pane, amore e
fantasia (1953) which accorded Gina Lollobrigida notoriety in
of the key scenes has Sophia in a low-cut, flaming red dress dancing
a hot mambo with De Sica to whom many sources give credit for directing
Sophia’s character as the Heckler graces the cover of major American magazines: Newsweek on August 15, 1955 and Life on August 22, 1955.
David di Donatello award in Italy goes to De Sica for Best Actor.
third entry in the Italian "Bread, Love and. . ." series,
Pane, Amore e... was directed by Dino Risi, taking over from the auteur
first two films, Luigi Comencini. Likewise, Sophia Loren substitutes
for Gina Lollobrigida,
the female star of the earlier films; only Vittorio De Sica returns for
third time. De Sica plays a retired village marshal who returns to his
"What an impact Sophia makes, even in the simple garb of a girl behind a fish counter. What pep she puts into their love scenes! And what a mambo she dances with him before the old boy realises he has been taken for a ride. Sophia shows once more that she is one of the few stars who combine sex appeal with acting skill. She is terrific in this lighthearted, colourfully set picture, which is
Reg Whitley, Daily Mirror.
"Signoria Loren's full-blown charms and Signor De Sica's comic talents are obvious... Much of the film's footage is vivid illustration that Signorina Loren in a tight bodice or writhing through a mambo dance in a low-cut flaming red gown is likely to raise the temperature of any red-blooded citizen."
"Miss Loren, of course, is also a sight for the sore eyes of the tourists."
Frank Morriss, Winnipeg Free Press, 4 nov 1957
The film gets its thrust from the amiable irony with which De Sica pokes fun at his character - plainly a caricature - and from the impetuous energy of Sophia Loren, who mischievously applies her gifts, not just her physical ones... With regard to the contribution made by the Neapolitan actress, don't ask us to draw a comparison between Gina and Sohpia: we will never express an opinion concering the biggest problem facing the nation."
Arturo Lanocita, Il Corriere della Sera, 24 dec 1955
Loren's harsh makeup; black, shaped Mephistophelean eyebrows; and piled-up hair contribute to a very stylized and theatrical character, not out of keeping with the new, somewhat overbright CinemaScope process. Nevertheless, Sophia overcame the limitations of costume, makeup, and artificial film color with her usual robust good humor and charismatic moves.
Deirdre Donohue, Sophia Style.