Mario Mattoli

Sc.: Marcello Marchesi e Stefano Vanzina (Steno), dalla canzone omonima di Fragna, Lerici e Rastelli. F.: Aldo Tonti. Mu.: Pippo Barzizza, diretta da A. Fragna. Canzone «Qui sotto il cielo di Capri» di A. Fragna. M.: Giuliana Attenni. Scgf.: Alberto Boccianti. Trucco: Giuliano Laurenti. Ass.R.: Leo Catozzo. Su.: Aldo Calpini Cast: Carlo Campanini (comandante dei vigili del fuoco), Silvana Pampanini (sua figlia Fiamma), Ave Ninchi (sua moglie Gaetana), Carlo Croccolo (pompiere piemontese), Dante Maggio (pompiere napoletano), Fritz Marlat [Aldo Tonti] (pompiere genovese), Ughetto Bertucci (pompiere romano), Alfredo Rizzo (pompiere milanese), Leopoldo Valentini (pompiere pugliese), con la partecipazione di Ariodante Dalla, Harry Feist, Wanda Osiris, Totò, Isa Barzizza, Mario Castellani, Carlo Dapporto, Laura Gore, Guido Morisi , il duo Leho e Mane, Nino Taranto, Silvana Pampanini, Carlo Taranto, Enzo Turco, Miriam Glori, Rosetta Pedrani, Elena Giusti, Adriana Serra, Franchina Cerchiai, Stella Nicholich, Magda Gonella. Prod.: Dino De Laurentiis per Lux Film; 35mm. D.: 91’ circa a 24 f/s. Bn.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

The comedians, the dancers, and the singers are all filmed in their natural state, affectionate, with no deceptions. What the stage does not reveal, the screen brings to the forefront, meaning the age of the actors, their long fight against wrinkles and crooked teeth, the tenacity of certain bit parts, the size of the costumes, in sum, the effort exerted by all to provide honest fun for the audience each evening. We can easily say that the film has something human about it. And that is exactly where its strength lies. The show offered to us is never corrupting, or rather, it never pushes a dream, it doesn’t express the sentimental, rose-colored pornography of American films of the same genre. In the American filmed revues, everything is prearranged, exalted, taking on inhuman, perfect forms: even the dancers have the grace and splendor of vigorous emotions, but they seem soulless, excluded from the suffering of this world, oneiric creatures. Here, instead, the dancers are alive, fleshy, they introduce themselves with a first and last name, and they all have union cards. […] Philologists say that language is enriched and renewed from the bottom up. The same holds true in cinema; neo-realism is proof, and I pompieri di Viggiù, for what little it reflects of the life and habits of our times, is a considerable and even fun example of the genre.

Ennio Flaiano, in «Il Mondo», 30/4/1949

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