Flowers from Nice

Roger, editor of a women's magazine, meets Roberte, his friend Jean's former mistress, at a major couturier's during a collection presentation. Roberte, who now lives in Florence with her niece Maria, asks Roger to arrange a student exchange so that Maria can come to Paris to perfect her French. Roger approaches Jean's son Philippe, a student at the Beaux-Arts, who agrees to go to Florence. Maria and Philippe meet on the platform at Pisé station. They miss their respective trains and take a walk together. A flirtation begins, then each goes back to the other. Jean finds Maria charming and, like an unrepentant Don Juan, decides to win her over, but thanks to his old maid, his intrigues come to nothing and Maria can marry Philippe.

A homeless girl gets taken in by a painter.

This rare 1935 film (the title translated means "do not forget me") features Beniamino Gigli as, of course, an Italian singer who warbles his way through a touching love story. Features musical selections from "Il Trovatore" and "Rigoletto" as well as a lullaby and some Neapolitan songs, including the title tune. Distributed by New York's Bel Canto Society (an organization of hard-core opera buffs).

Told that he is to take charge of his grandson, a misogynistic old nobleman is taken aback when he discovers that "he" is actually a "she." At first rejecting the girl, the old coot finally comes to love and accept her.

A femme fatale falls in love with a Venetian count, implacable enemy of Selim, who pursues his sister with his diligence. This one makes stop and condemn to death the count who made an attempt on his life. Then he offers the woman her father's salvation in exchange for her favors. A snake kills him, the count is shot and the woman finally takes the veil.

The movie is about a student in Turin during the 1920s (moved up from the earlier versions) and his love for a a seamstress. The student, Mario, is played by Walter Slezak; the girl Dorina by Carmen Boni. The femme fatale Elena (Elena Sangro) threatens the relationship. When school days end, seen here as a kind of transitory idyll, it is "farewell to youth" as the title states, and a melancholy goodbye to youthful romances as well to allow new lives to take form.

Totte works in Paris when she meets the wealthy Renato. Renato's father wants him to marry so to fool him he proposes to Totte.

The young Augusto Genina directs this matrimonial comedy with verve, capturing the right tone and rythms. The Count and Countess Valmonte are a likeable and close-knit couple, but he spends too many evenings at his club, at least as far as she is concerned. Is there something behind these absences?

There’s a war on, yet the last days of October pass by “sunny and tranquil” as warm rays light up an expansive ocean. The grand liners Titan and Oceania cross the Atlantic to Europe. Yet under the seemingly placid surface of the water looms the threat of submarines, “vipers of the sea”. The Oceania is torpedoed and quickly sinks. After the dramatic intensity of the opening, however, Il siluramento dell’Oceania seems to swiftly abandon the echoes of the Lusitania and its burden of tragedy, channeling itself into the more frivolous tides of the typical adventure drama fashionable at that time, unafraid of either improbable coincidences or clichéd characters. Cecil Tryan plays the heroine, a beautiful heiress unjustly banished with her mother from her ancestral castle. She weeps at the thought of no longer being able to order seven dresses in one go from her tailor, and ultimately falls in love with the courageous captain, also a survivor, who saves her life and fortune.

In the spring of 1913, Jean Servin, a son of a family, became friends with Roberte, a little midinette. He leaves her a few months later to marry Cécile Breton. The years go by. Jean becomes an important businessman. One evening, he meets Roberte, who has become the wife of a wealthy American. She does not love her husband any more than he loves his wife. They recall their memories. They seem to still love each other. They plan to rebuild their lives. Together, they will spend a few days in Dieppe, as they did in the past after their first meeting. They feel so different from what they were twenty years ago that they understand that the past cannot live again.

In order not to compromise the great music hall star with whom he spent the night, a man is accused of a murder he did not commit.

In Sardinia, at the beginning of the twentieth century, the once powerful aristocratic Decherchi family is going through difficult times and is threatened with eviction. To be able to pay his debts, Don Paulu, the son, needs help. He seeks aid from Uncle Zua, an old miser, who rejects him bluntly. Upset by Paulu's misfortunes, Annesa, the servant girl adopted by the family and Paulu's lover, decides to kill Zua so that the Decherchis inherit from him...

A wardrobe mistress at a Vienna theatre wins a competition, receiving as her prize a luxury tour round Italy. On the train she meets an impoverished young Italian who pretends to be a prince.

While recuperating from their injuries in a hospital, three young women flash back to the events leading up to the catastrophe. Remata (Lia Amando) has spent her entire life trying to overcome a childhood rape. Annamaria (Antonella Lualdi) has recently come out of an unfortunate marriage to a wealthy but insensitive boor. And Gianna (Eleanore Rossi Drago), the daughter of a college professor, has ruined her life with narcotics.

In L'innamorata, Almirante is at the zenith of her career, starring as Mara Flores, a vampish society lady, who casts her eyes on Carlo, an electrical engineer and director of a powerplant. Although attracted to Mara, he rejects her, and she immediately turns around and sinks her fangs in his best friend and future brother-in-law, Franco. Not possessing Carlo's self-composure, Franco takes up with Mara, and it leads him to his ruin and death. Now, Carlo does fall under Mara's spell, and as their passion intensifies, it becomes clear that there will be no happy end to this story.