Marco Ferreri

T. alt.: Gli adulteri. Sog.: from the book Le italiane si confessano (1959) by Gabriella Parca and an inquiry conducted by Cesare Zavattini with the collaboration of Baccio Bandini, Carlo Musso, Giulio Questi, Gabriella Parca. Scen.: Rafael Azcona, Marco Ferreri. F.: Marcello Gatti. M.: Eraldo Da Roma. Mus.: Gianni Ferrio. Int.: Renza Volpi (la moglie), Silvio Lillo (il marito), Riccardo Fellini (l’amante di lei), Rosalba Neri (la segretaria e amante di lui). Prod.: Maleno Malenotti per Magic Film, Pathé Consortium Cinéma. DCP. 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

In the morning, a married couple with three children wish each other a good day. At the office, the husband is having an affair with his secretary; the wife, after sending the children off with an au pair, welcomes a lover into the home. That evening, the family is back together, in front of the television. Once again, Cesare Zavattini came up with the original idea for the film, which constitutes one of the episodes in a project entitled Le italiane e l’amore, inspired by a famous collection of female confessions curated by Gabriella Parca. However, as the episode uses parallel editing to follow the couple’s day, it hastily avoids any anti-bourgeois sentiments or sexual allusions. The two carefree protagonists, surrounded by objects (books such as the Kinsey Reports, and obviously food: spaghetti), appear as a cynical, desolate parody of the incommunicability and crisis that permeates Antonioni’s couples, with the addition of the anarchist intrusion of some typically obnoxious Ferrerian children and small, almost surreal moments, such as the appearance of a trumpet player.

Emiliano Morreale

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courtesy of Compass Film. Restored in 4K by Cineteca di Bologna in collaboration with Compass Film with funding provided by MiBACT at L’Immagine Ritrovata laboratory