Sog.: Franco Brusati, Francesco Ghedini, Alberto Lattuada; Scen.: Claude Brulé, Franco Brusati, Francesco Ghedini, Alberto Lattuada; F.: Gabor Pogány; Op.: Mario Capriotti; M.: Leo Catozzo; Scgf.: Franco Lolli; Cost.: Lucia Mirisola; Mu.: Umberto Bindi (per la canzone “Arrivederci”), Dino Olivieri (per la canzone “Tornerai”), Piero Piccioni; Su.: Mario Bartolomei, Kurt Doubrowsky; Ass. R.: Aldo Buzzi, Leo Pescarolo; Int.: Catherine Spaak (Francesca), Jean Sorel (Renato), Christian Marquand (Enrico), Juanita Faust (Maria Grazia), Marilù Tolo (Margherita), Milly (la contessa), Antonella Erspamer (la principessa), Giovanna Pignatelli (Principessa Lavinia), Oliviero Prunas (Eddy), Giacomo Furia (negoziante), Gisella Arden, Patrizia Bini, Eva Bruni, Franco Lolli, Ida Masetti, Donatella Raffai, Serena Vergano, Silverio Dani, Laura Di Ravello, Priscilla Contardi, Angela Caffelli; Prod.: Titanus /Laetitia Films / Les Films Marceau-Cocinor; 35mm. L.: 2497 m. D.: 91’. Bn.
The director answered those who compared the story of his film to Nabokov’s Lolita by pointing out that his work was meant to have a much broader scope and to deal with a controversial contemporary issue: the lack of sexual education for young people. However, the scrupulous manner in which Lattuada approached the subject did not keep the film from becoming the center of polemics. In September of 1960, Dolci inganni was examined by a film review board. Despite some difficulties, the film was granted authorization for release on condition that it would be slightly “touched up” and prohibited to those under sixteen. But on 26 November 1960, public prosecutor Carmelo Spagnuolo issued an order for the film to be seized. In his opinion, it contravened proper standards of morality because some scenes were “openly offensive to a common sense of decency”. In the end his order was revoked, but only after an appeals commission reviewed the film and required that an additional 301.5 meters of the film be cut. Approximately three and a half years after the original version was seized, a court case ended with a ruling in favor of the director.
This restoration is the reintegrated version of the film from 1964. It was made possible by producer Goffredo Lombardo who allowed the Cineteca di Bologna to use the original sound and picture negatives. The sound negative showed advanced signs of vinegar syndrome.