Osvaldo Valenti

After committing a murder for his lover, Gloria, the famous painter Jack is forced to go underground. In the harbor district, he saves the poor Malaysian girl Song in front of two intrusive sailors. She loves him for it, and together Song and Jack appear in the tingle dungeon of the port, he as a knife artist, she as a dancer.

In the kingdom of Kindaor, traitor Sedesmondo kills his brother, the King of Kindaor, and becomes the tyrant of kingdom. He abandons the prince Arminio to beasts in the woods, but lions don't kill him and breed him as one of them.

A documentary on the history of Italy's peplum genre.

Sequel to "Il figlio del corsaro rosso." Neala, daughter of the Red Corsair, is taken prisoner by the governor of Las Palmas, who wants to marry her for her dowry. Her brother, helped by the filibustieri, goes to her rescue.

In Florence, at the time of Lorenzo de Medici, known also as Lorenzo the Magnificent, the aristocrat brothers Chiaramantesi rule with an iron fist the streets of the city. Ruthless and fierce, the two brothers have chosen as their special victim the innocent and harmless Giannetto. Even though determined to not react to the cruel pranks of the brothers, Giannetto is forced to take a stand when Ginevra, a beautiful girl that works in the Chiaramantesi household, is dragged into the game. To defend his honor and protect the girl, Giannetto works out a fiendish plot that will end in blood and madness.

ETTORE FIERAMOSCA was based on a widely-read literary action epic by Massimo D'Azeglio, published in 1833. Translated to the screen in 1938 by the most important director of the Italian fascist period, Alessandro Blasetti, it was intended to boost current patriotic fervor and pride in the Italian nation, and it contributed to a revival of Italian nationalism.

On the plains of Hungary, Franz, a Hussard lieutenant, broods about his future; Born into an aristocratic family, his father drank away the family fortune and marriage seems an unlikely prospect. Impoverished Franz's love for effervescent and upright country girl Marika coincides with the tragic tale of lovelorn violinist Josef, all but ignored by royal beauty Camilla.

Set in the Papal States in the first half of the 19th century, it tells the story of the Roman noblewoman Vanina Vanini and her secret love for the Carbonaro Pietro Mirilli. The latter, given his commitments in the underground struggle, decides to abandon his young lover, who is nevertheless willing to marry him. Left alone, Vanina is unable to escape her despair and tries in every way to reunite with her companion, even going so far as to denounce the Carbonari to the Cardinal of Romagna, naming them all except Pietro and revealing the hiding place where they meet. Pietro, learning of Vanina's betrayal, casts her out. Only then does Vanina realize the gravity of her actions and decides to join the Carbonari, even participating in combat operations, during one of which she is wounded. This brings the two young people closer together forever.

Everything unfolds in Naples seventeenth century, when a mysterious masked swordsman who calls Salvador Rossa becomes champion of the needy and lonely struggle against the cruel tyrant that frightens the country.

An Italian emigrant, who found fame and success in America, comes back to his hometown after over twenty years.

This film relates the story of Russian Princess Fedora (Louise Ferida), in Czarist times, whose royal lover is assassinated on the eve of their marriage. She pledges vengeance, only to become the victim of her vow when she falls in love again.

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”.

Italian historical drama portraying the story of the sixteenth century Italian noblewoman Beatrice Cenci.

Sports comedy film inspired by a 5–0 victory by A.S. Roma against their rivals Juventus in 1931.