Writing

Emilio Cecchi

No biography available.

Known For

18601860 · 1934
1860
★ 6.41934
MovieDramaHistory
The story is the harried attempt of a Sicilian partisan, as part of the risorgimento, to reach Garibaldi's headquarters in Northern Italy, and to petition the revered revolutionary to rescue part of his besieged land. Along the way, the peasant hero encounters many colorful Italians, differing in class and age, and holding political opinions of every type. There is a key train scene, and the film ends on the battlefield, Italian unification a success, despite brutal losses.
Tragic NightTragic Night · 1942
Tragic Night
★ 8.01942
MovieDrama
Released from jail, Nanni punches prison guard Stefano who has denounced him. In order to take revenge, Stefano suggests the suspicion that, during his absence, his wife has had business with the Count Paolo. A few days later, at night, a deadly ambush will be prepared. Based on the novel The Trap (1928) by Toscan Delfino Cinelli.
HarlemHarlem · 1943
Harlem
★ 9.01943
MovieDrama
This propaganda film was partly inspired by the story of the first Italian heavyweight champion Primo Carnera who, after winning the title with Al Capone’s help in 1933, was beaten the following year by the Jewish Max Bear and then again by the ‘Brown Bomber’ Detroit Joe Lewis in June 1935, on the eve of the Italian invasion of Ethiopia. This match provoked numerous racial skirmishes on the streets of Harlem between the Black community and pro-Fascist Italian-Americans. The film overturns historical facts and here, obviously, it is the white boxer who wins in order to demonstrate the superiority of the “Aryan Italians” over the “sinister Jewish entrepreneurs” and the “savage Afro-American fans in Yankee Stadium”. In the film, these were played by South African prisoners-of-war interred in a work camp, which the German and Italian propaganda ministries had set up near Cinecittà “for cinematic purposes”.
What Scoundrels Men Are!What Scoundrels Men Are! · 1932
What Scoundrels Men Are!
★ 7.11932
MovieComedyRomance
Bruno, a chauffeur having some problem in keeping a job, meets one morning Mariuccia, a taxi driver’s daughter working as a perfumery’s shop assistant, and trying to impress her, pretending to be rich, uses his employer’s car to took her on a trip to the lakes, but things don’t work as planned and to conquer Mariuccia’s hearth won’t be so easy…
Escape to FranceEscape to France · 1948
Escape to France
★ 7.21948
MovieDrama
A former Fascist takes his son and escapes across the border into France, where he tries to avoid being recognized and having to pay for his wartime crimes.
Under the Sun of RomeUnder the Sun of Rome · 1948
Under the Sun of Rome
★ 7.11948
MovieComedyDrama
A lovely, incisive portrait of adolescents in the crowded San Giovanni quarter of Rome during the last years of WWII.
SteelSteel · 1933
Steel
★ 5.61933
MovieDrama
In the huge steel factories in Terni (Umbria, Italy), two friends: Mario and Pietro, fight for the love of the same girl, Gina. Pietro dies because of a work accident at the factory. The other workers think Mario is responsible for the death of his friend. Mario, who is innocent, is forced to quit, but his love for Gina and his dedication to his job help him out of his crisis.
Professor, My SonProfessor, My Son · 1946
Professor, My Son
★ 7.01946
MovieComedyDrama
During Fascism and after WWII, a school porter sacrifices himself so his son, who is slightly ashamed of a lowly background, can become a respected professor.The film also takes a few jabs at Italy's rapid governmental reshuffles.

Filmography

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HarlemHarlem · 1943
Harlem
★ 9.01943
MovieDrama
This propaganda film was partly inspired by the story of the first Italian heavyweight champion Primo Carnera who, after winning the title with Al Capone’s help in 1933, was beaten the following year by the Jewish Max Bear and then again by the ‘Brown Bomber’ Detroit Joe Lewis in June 1935, on the eve of the Italian invasion of Ethiopia. This match provoked numerous racial skirmishes on the streets of Harlem between the Black community and pro-Fascist Italian-Americans. The film overturns historical facts and here, obviously, it is the white boxer who wins in order to demonstrate the superiority of the “Aryan Italians” over the “sinister Jewish entrepreneurs” and the “savage Afro-American fans in Yankee Stadium”. In the film, these were played by South African prisoners-of-war interred in a work camp, which the German and Italian propaganda ministries had set up near Cinecittà “for cinematic purposes”.

Screenplay