Scen.: Suso Cecchi D’Amico, Ennio Flaiano, Alessandro Continenza. F.: Otello Martelli. M.: Mario Serandrei. Scgf.: Dario Cecchi. Mus.: Alessandro Cicognini. Int.: Sophia Loren (Antonietta Fallari), Marcello Mastroianni (Corrado Betti), Charles Boyer (conte Gregorio Sennetti), Elisa Cegani (contessa Elena Sennetti), Nino Besozzi (il produttore Paolo Magnano), Titina De Filippo (la madre di Antonietta), Margherita Bagni (Mirella Fontanisi), Anna Carena (la miliardaria brasiliana), Piero Carnabuci (il presidente della casa cinematografica), Memmo Carotenuto (Gustavo Ippoliti). Prod.: Raymond Alexandre per Documento Film, Louvre Films DCP. D.: 96’. Bn.
Peccato che sia una canaglia was cute but its quasi sequel La fortuna di essere donna had an even better screenplay which was well-crafted, graceful and carefully written with Flaiano. With Peccato che sia un canaglia we took our cue from Moravia. With La fortuna di essere donna we were inspired by an Ercole Patti story with a girl nicknamed Nerone. Poor Ercole tried to run away from her by going to Sicily, but she would not give him up. When she could not find him, she went to Brancati; and once, in desperation, she even tried seducing him. Vitaliano described the scene hysterically.
Suso Cecchi D’Amico, L’avventurosa storia del cinema italiano, Franca Faldini and Goffredo Fofi (ed.), vol. II, Edizioni Cineteca di Bologna, Bologna, 2011
La fortuna di essere donna proceeds according to what was by then a familiar vein […]. Like Angelo Solmi wrote in “Oggi” on 16 February 1956: “With La fortuna di essere donna Alessandro Blasetti has chosen once again success by making a comedy of manners, a genre in which he had already proven his ability with Peccato che sia una canaglia and, even earlier, Prima comunione […]”. The world of cinema is depicted in a shrewd point of view: a field of old beauties looking for fresh bodies, cynical agents and dishonest producers, lurking photographers – forerunners of the paparazzi of La dolce vita – looking for shameless girls ready to compromise anything for the price of 30,000 lire a day. Sophia Loren is one of them, albeit more adept at managing her stock of sex-appeal by staying on the defensive. […] At her side is a photographer, played by Marcello Mastroianni, who is no longer the naive taxi driver of Peccato che sia una canaglia but a confident guy aware of his seductive power as a low-end Don Juan, capable of offering aspiring divas false visions as successful film actresses or models, when he really is only thinking about getting them in bed. Unlike the previous movie, this Mastroianni does not effuse congeniality but is in harmony with the entertainment industry, which can corrupt anyone that enters its domain.
Jean A. Gili, in A. Blasetti: 1900-2000, Stefano Masi (ed.), Comitato Alessandro Blasetti per il centenario della nascita, Aprilia 2001