{"id":1117,"date":"2022-04-13T05:04:45","date_gmt":"2022-04-13T03:04:45","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/2022\/04\/13\/boccaccio-70\/"},"modified":"2023-03-16T11:00:18","modified_gmt":"2023-03-16T10:00:18","slug":"boccaccio-70","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/boccaccio-70\/","title":{"rendered":"Boccaccio ’70"},"content":{"rendered":"
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Boccaccio ’70<\/h1>\n
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Year: 1962
\nFormat: Colour
\nRuntime: 60 min
\nProduction: Concordia Compagnia Cinematografica e Cineriz (Roma), Francinex e Gray Films (Paris)
\nWord sales: Cineriz
\nViewed censorship: 4645206\/02\/1962\n<\/p><\/div>\n

The other film episodes are: Renzo e Luciana by Mario Monicelli, Il lavoro by Luchino Visconti and La riffa by Vittorio De Sica.
\nDoctor Antonio, an unbending moralist, waged a personal war against spreading immorality. He improvised sermons in front of a boy-scout audience, he bothered couples looking for intimacy, he even tore off covers from magazines displayed at newspaper kiosks. He got really angry when a provocative billboard showing a smiling buxom woman, advertising ‘Drink more milk’, was hung just below his windows. He made an unsuccessful effort at having the billboard removed. He then decided to throw ink bottles onto the billboard to stain it. The billboard was then censored by local authorities but heavy rains uncovered the tempting woman\u2019s body once again. This image started haunting him in his dreams until he was found having hallucinations on the billboard he had climbed. While Doctor Antonio was being driven to hospital by ambulance Cupid was smiling at him scornfully.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n

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Crew<\/strong><\/p>\n

Director: Federico Fellini
\nScreenplay: Federico Fellini, Tullio Pinelli, con la collaborazione di Ennio Flaiano
\nCinematography: Otello Martelli (Technicolor)
\nCamera operator: Arturo Zavattini
\nMusic: Nino Rota
\nProduction design: Piero Zuffi
\nFilm editing: Leo Catozzo
\nProducer: Carlo Ponti<\/p>\n

Cast<\/strong><\/p>\n

Peppino De Filippo : dott. Antonio Mazzuolo
\nAnita Ekberg : la donna del cartellone
\nAntonio Acqua : il commissario
\nEleonora Nagy : Cupido
\nDante Maggio : capo operaio
\nDonatella Della Nora : sorella del dott. Antonio
\nGiacomo Furia : operaio
\nAlfredo Rizzo : capo cantiere
\nAlberto Sorrentino : l’operaio attacchino
\nMonique Berger : la signora del bar
\nPolidor : operaio
\nGesa Meiken : la signora questuante in chiesa
\nMario Passante : il sacrestano
\nAchille Maieroni : l’autista di mosignore
\nSilvio Bagolini : un segretario di monsignore
\nEnrico Ribulsi : il moralista con gli occhiali scuri
\nCiccio Barbi : l’ingegnere nell’auto
\nGiulio Paradisi : il ragazzo nell’auto
\nGiuliano Gemma : Ercole<\/p>\n

Peculiarites<\/strong><\/p>\n

“For several weeks during the summer of 1961, Federico went on playing with Anita in the perfect reproduction of the EUR building prepared by production designer Piero Zuffi. The Corriere dei Piccoli\u2013like story became a Swiftian satire, an allegoric moral tale challenging the Philistines. Peppino\u2019s character is obsessed with Anita\u2019s explosive image. However, Anitona (Anita\u2019s nickname) is tense. She\u2019s no longer the happy-go-lucky Viking of La Dolce Vita. She\u2019s an international movie star now, and she is well aware of this. Her new concerns have changed her personality: she is more difficult to deal with. Fellini would no longer have been able to ask her either to dance barefoot in Caracalla throughout the night or to get fully dressed into the Trevi Fountain. Actually, of all the people inhabiting the miniature EUR building, Anita is apparently the one having the least fun. Some people said she was upset because she didn\u2019t know that her part was supposed to be only a picture on a living billboard, and she wanted a real role to play. Anitona spends most of her time in her trailer watching TV, but when she\u2019s on the set and Fellini shows her how to walk along the miniature houses and streetlights, she embodies the eternal feminine again, as she did in La Dolce Vita”.
\n(Tullio Kezich, Fellini, Milan, Camunia, 1987, pp. 309-310)<\/p>\n

Reviews<\/strong><\/p>\n

“With \u201cLe tentazioni del Dottor Antonio\u201d, Fellini took a break. Being a good Catholic, he wanted to entertain his audience, and he succeeded. He touched upon one of the most grotesque aspects of some moralizing campaigns. In the film, he was able of directing Peppino De Filippo extremely well, as he made a great performance. He then gave Anita Ekberg the chance of showing how good she was, and then choose a great group of character actors who acted with said two great actors”.
\n(Giovanni Grazzini, \u201cCorriere della Sera\u201d, 24 February 1962)<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":797,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,22],"tags":[],"class_list":["post-1117","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fellini-en","category-filmography"],"acf":[],"yoast_head":"\nBoccaccio '70 - Fellini Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fellinimuseum.it\/en\/boccaccio-70\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Boccaccio '70 - 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