Sog.: Dal Romanzo Omonimo Di Henry Koch; Scen.: Raffaello Matarazzo, Cesare Zavattini, Alessandro De Stefani; F.: Clemente Santoni; Mo.: Mario Serandrei; Scgf.: Gastone Medin; Mu.: Nino Rota; Int.: Armando Falconi (Leopoldo Giovannini), Chiaretta Gelli (Nicoletta), Dina Galli (La Marchesa), Amelia Chellini (Zia), Anna Proclemer (Accreditata Come Anna Vivaldi, Nel Ruolo Di Livia), Nicoletta Parodi (Irene Della Bella), Franco Scandurra (Roberto Della Bella), Carlo Campanini (Avvocato Giulio Marchi), Paola Borboni (Direttrice Del Collegio), Giuseppe Pierozzi (Il Veterinario), Renato Chiantoni (Il Signore Chiamato Al Telefono), Edda Soligo (La Moglie Del Signore Al Telefono), Lina Bacci (Giustina), Enrico Luzi (Gegé, Il Fotografo), Aristide Garbini (Tassinaro), Giulio Alfieri (Filippo, L’autista), Alessandra Adari (Un’insegnante), Gorella Gori (La Cameriera), Liliana Zanardi (La Maestra Brina- Relli), Armandina Bianchi (Marianella), Lina Tartara Minora, Gina Moneta Cinquini, Gorella Gelli, Alfredo Salvadori; Prod.: Lux Film; Pri. Pro.: 6 Febbraio 1943 35mm. D.: 81′.
This film is a sequel to Matarazzo’s Giorno di nozze, with which it shares many aspects, including the majority of the actors. In Il birichino di papà Matarazzo doesn’t use his comic verve to reach a universal audience so much as to give a severe and wonderfully ironic look at the fascist era. In fact with this film Matarazzo makes respectability, conventionality and the social customs in place at the time his targets, using a tone that is both cutting and amicable. It is quite logical that this satire be a part of the most popular comedy genre in Italy in the 1930s: the girl’s boarding school. Like Giorno di nozze, this is a melodrama that is transformed into a comedy by its charming style. The nicest characters would quickly fall into disgrace and desperation if it weren’t for the fortunate intervention of the heroine, a little fifteen-year old rebel. Thanks to her independent spirit and energy she reveals the faults of a hypocritical and coercive society, saves her sister from drowning, and saves the film from becoming truly disma.
Jacques Lourcelles, Dictionnaire du cinéma, Laffont, Paris, 1992