Pane, amore e...
by Dino Risi


Italy - December 22, 1955 - Pane, amore e... - 100'
Belgium (Brussels) - March 11, 1956 - Pain, amour, ainsi soit-il / Brood, liefde en ein delijk geluk -
France (Paris) - March 14, 1956 - Pain, amour, ainsi soit-il - 99'
West Germany - September 28, 1956 - Liebe, Brot und 1000 Küsse - 98'
Spain - December 1956 - Pan, amor y... - 95' (attendance: 415,113)
USA (New York City, Mayfair) - June 12, 1957 - Scandal in Sorrento - 98'

French poster Italian poster German poster American poster


Police sergeant Carotenuto returns to Sorrento, the town where he was born, to assume command of the police, but he cannot take possession of his house because it has been rented to a beautiful fishmonger whom the town has nicknamed the ‘Braggart’, He is therefore forced to find lodging in the home of a still attractive spinster who lives a withdrawn existence following a blighted love affair, When he meets the beautiful woman who lives in his house, the policeman begins to court her assiduously, extending her lease and promoting in the police exams a young man whom she has recommended and who happens to be madly in love with the beautiful fishmonger. Learning of the sergeant’s intentions toward the woman he loves, the young man decides to go away. His decision saddens the girl who realizes that she is in love with him, too. It is the policeman who sets everything straight and manages to reunite the couple. Meanwhile he discovers that the land lady of the house he lives in is a splendid woman, and decides to devote his attentions entirely to her. (Enrico Lancia)
Story by Ettore M. Margadonna, Marcello Girosi, Dino Risi and Vincenzo Talarico


Sorrento (Italy)
Titanus Studios, Rome (Italy)

Filming dates: July – August 1955


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)


Photography (CinemaScope, Eastmancolor):
Giuseppe Rotunno

Alessandro Cicognini
Costumes design:
Fabrizio Carafa
Makeup Artist:
Maria Angelini
Hair Stylist:
Goffredo Rocchetti
Leo Coleman

Still photographers:
Gian Battista Poletto
Titanus (Rome)
Societé Générale de Cinématographie (Paris)


This film is the third in the series inaugurated by Pane, amore e fantasia (1953) which accorded Gina Lollobrigida notoriety in Italy. She turned down the role and broke relationships with Titanus after president Goffredo Lombardi threw up his hands at ther request of a half-share in the picture's net profits. Sophia takes over the role and it is seen as an affront which revives the War of the Bosoms between the two actresses.

One 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 the film.

The film has good box-office success in Italy but proves an instant flop in the USA when critics object to the dubbed American voices emanating from Sophia's and De Sica's throats which don’t sound nothing like theirs 

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.


The third entry in the Italian "Bread, Love and. . ." series, Pane, Amore e... was directed by Dino Risi, taking over from the auteur of the 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 the third time. De Sica plays a retired village marshal who returns to his home town of Sorrento, where much against his will he is appointed chief of police. His first job is to evict Sophia Loren, the sexy fish peddler who has been living in his old apartment. By and by, De Sica falls in love with Loren, never realizing (at least until the last reel) that landlady Lea Padovani is the "right" girl for him. In America, Pane, Amore e. . . was Scandal in Sorrento.
Hal Erickson, All Movie Guide

"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 Italy's current smash hit."
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."
A.H. Weiler, New York Times, 13 jun 1957

"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.

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

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