1860

Documentary directed by Alessandro Blasetti.

Anita, a free Emilian girl falls in love with Salvatore, a Neapolitan bersagliere. The two would like to get married, but he drowns while bathing in the river. From that moment the woman is unable to love anyone else because, at the most beautiful, the ghost of her fiancé appears to her who, in the end, will be able to be followed in the other world.

Andrea Fontana is a lawyer who meets a girl and then marries her. But it is not long before he is called to serve in the war.

In late 19th century Sicily, handsome free-spirit Liolà wanders into town, where he encounters an old flame now married to a wealthy landowner.

Travelling family man Paolo agrees to pose as husband to an unwed pregnant girl he meets on a train. However, once faced with her father, things do not go as planned.

Documentary compiled from archives and accompanied by a poet's commentary, shows the sweep of modern Italian history from 1911 to 1961, centering on the conditions leading to Fascism and the post-WWII reaction to the Fascist experience.

La Contessa di Parma was the sole directorial contribution by Allesandro Blasetti in 1937. The first of several expensive costume dramas upon which the director established his international reputation, the film stars Elisa Cegani as Marcella, a model in the dress shop owned by enterprising Umberto Melnati. To improve his business, the owner instructs his models to dress up as society ladies and attend all the best parties. And that's how humble little Marcella comes to be mistaken for the popular Duchess of Parma -- and by extension, how our heroine wins the love of football hero Gino Vanni (Antonio Centa). A little wanting in the way of plot or logic, La Constessa di Parma is at least consistently good to look at.

When young and attractive Lina Stroppiani, a thief like the rest of her family, tries to steal the taxi of Paolo, together with two accomplices, she can't possibly know that this will have far reaching consequences.

Depictions of the Emperor Nero and the Great Fire of Rome (64). Anachronisms are used for comedy, such as Nero telephoning the fire brigade.

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.

Nine episodes about life in Italy in the period just before its economic boom.

The daughter of Signor Carloni is about to take her first communion. A problem arises when the dressmaker spends too much time working on the girl's communion frock.

Maria and Paul love them, but they are very young and, moreover, Maria is the daughter of the municipal sweeper while Paul is the lawyer Bonelli, vice mayor and head of the opposition. To complicate the story there is the reconstruction of a hermitage destroyed during the war. Reconstruction would take the view of the Paseroni villa, big industrial and political traffic. Bonelli's lawyer, a great speaker, becomes a mayor for the death of his predecessor and is bought by Paseroni, while rejecting the love of Paul and Mary for social differences and why Paul should stay behind Doddy Paseroni. At this point, Paul and Mary flee to kill, just as Bonelli has to hold a talk on the radio for the inauguration of Paseroni's villa ...

Sandro is a well-known journalist and he is conducting a survey on human selfishness. Every man and every woman he meets turns into a theme for his inquiry. Even his own wife, Titta.

A photographer named Corrado snaps a picture of Antonietta. When it shows up on the front page of a magazine, she wants to take him to court over it.