1997 film directed by Paolo Virzì

二次世界大战初期，英军和义军在东非伊索比亚交战，两个敌对的军官经过连串战事之后学到了彼此尊重。这是以识英雄重英雄为主题的战争喜剧，编导虽有意对战争加以讽刺，无奈所表现的态度显得优柔寡断，以至其观点虚浮乏无力。不过，两名主角的演出很好，娱乐性不俗

(Includes spoilers) VILLA BORGHESE is a film consisting of six vignettes (cut to five in its U.S. release) that are all set in the Roman park that bears that name. All the episodes take place within one day. The first episode, taking place early in the day, is called "Servant Girls and Soldiers" and is a trifle about a couple of guys trying to put the makes on a couple of young girls. The second piece is called "The Greek Letter Pi" and is a poignant little anecdote about a schoolgirl (Anna Maria Ferrrero) who is urged by her classmates to approach their Greek professor (François Perrier), so that they can photograph them kissing and perhaps blackmail the prof for a passing grade. It turns out the professor has a sad story to tell the girl…that he is going blind. The tearful girl cannot go though with the plan. The third episode is the funniest and probably the best in the film. It's called "Incident at Villa Borghese" and features tour-guide Vittorio De Sica as an incorrigible over-cologned woman-chaser who comes between Giovanna Ralli and her furiously jealous boyfriend Maurizio Arena. The dramatics that ensue among the three…and others…is absolutely hilarious. In one delicious moment, De Sica sits in the car with the boy on one side of him, screaming at the girl, and the girl's breasts on the other side, pressed against De Sica's face as he barely conceals his lust. In "The Marriage Arranger" Eduardo De Filippo is the father of a girl he is trying to marry off. The discussions between the relatives center on rather selfish interest…money, dowry. Then the increasingly ill-at-ease girl is revealed to have a handicap, involving her foot, and the young suitor comes to the emotionally distraught girl's side and, through simple humanity and kindness, saves the day in a way the crude relatives were not capable of doing. Of all the relationships we witness in the film, this is the only one that seems to have a future. "The Lovers" is a bittersweet episode about a man breaking up his affair with a married woman…as the woman's small children play in the park with their nurse and call out to their adulterous mommy. It is nicely acted by two great stars of the French cinema, Micheline Presle and Gérard Philippe. The final racy episode, "Beauty Contest," is a Felliniesque dissertation about two rival Roman street–prostitutes, who as they are about to be rounded up by the police, wind up at a Miss Cinema beauty contest taking place in the park. The younger of the women (Eloisa Cianni) eludes the police by going off with an older man in his car. The other and older one (Franca Valeri) is not so lucky and the episode and the film end as she is driven off in a police vehicle. It is late at night.
The movie was released in the United States in 1957, inexplicably, in a French-language version, which didn't match the content, despite the presence of some French performers. It was retitled IT HAPPENED IN THE PARK. Furthermore, the first decent-enough episode was shorn, also inexplicably, because the film was already a short one. The direction by Gianni Franciolini is subtle and finely-tuned throughout, and the ensemble of actors in the production makes, of itself, a worthwhile experience of the movie, which should not remain as forgotten as it is.

1959 film by Camillo Mastrocinque

On New Year's Eve, an insecure, struggling actress (Anna Magnani) has nothing to do. When a colleague invites her to a New Year's party, she jumps at the opportunity. Accidentally she runs into an old acting acquaintance (Toto), who is helping a professional pickpocket (Ben Gazzara) steal from people during the hustle-bustle of New Year's Eve festivities. During the course of the evening, they have numerous crazy, humorous adventures all over Rome at different parties, restaurants, and even the Trevi fountain. Magnani's character (Tortorella) falls for Gazzara's character (Lello) without knowing what he's up to, while Toto tries to placate them both. Written by Miriam Kramer

Expensive vines, tables filled with food, but emptiness inside. Everyone has stopped developing, and fastened in their roles. Hurtful, but still funny story about human development.

Cab drivers in certain parts of the world are 'walking encyclopedias'. These individuals know just about everything and can discuss whatever issue with their passengers. Such man is Pietro, or Pie, as he is fondly addressed by his family. Pie, has a heart of gold. When we first meet him he is driving a person and talking about his fortune of having a wonderful family with whom he is going to celebrate Christmas eve. His passenger has another thing in mind, he is about to rob him!
We follow Pie as he goes through his city. There is a hilarious encounter with a Texan couple that feel insulted when Pie thinks they are American stereotypes because the tourist misunderstands what he is trying to tell them. There is a meeting with a would be suicide that asks to be taken to the nearest place to the Tiber, and his attempt at saving her life.
As it happens, famous people also take taxis, as it is the case when Pie picks up Giulio Andreotti, Italy's Prime Minister, with whom he has a meaningful conversation. Pie commits the ultimate sin when he is asked to take one of Italy's famous stars to the French embassy. As he only sees her from his mirror, he thinks he is talking to Sylvia Koscina, when in reality she is none other than Silvana Pampanini! His last claim to fame comes when he is asked to drive the great Federico Fellini to Cinecitta. Insisting in sitting up front, Fellini has to endure Pie's admiration. Unknown to the driver, Fellini is going to appear in a film directed by none other than Alberto Sordi, one of the best actors of his generation.
Directed by Alberto Sordi, the film is a love statement to Rome. We are taken all over the city taking its most notable sites as Pie drives his clients. The film was probably an excuse for Mr. Sordi to show his friends and his connection to a place that was dear to him. The film is mildly funny, an excuse to spend some time with some familiar faces and Mr. Sordi, the man that gave so much joy to so many. Bravo Alberto!

A group of rogues steal a scroll granting its bearer the property of the land of Aurocastro in Apulia, a province in the south of Italy. They elect a shaggy knight, Brancaleone from Norcia, as their leader, and decide to get possession of this supposedly wealthy land. Many adventures will occurr during the journey.

An evening at an Italian restaurant. Hosted by tolerant and relaxed Flora, various parties of middle-class people come in -- large and small, young and old, regulars and tourists, married and single -- to dine, converse, argue, celebrate, make confessions; to overhear other people's discussions, to interrupt them, to sing, listen to music, and enjoy life.

The film consists of six short stories created by different directors, but all the stories share one thing: a warm irony to current events.

两个意大利士兵被卷入第一次世界大战，他们很想逃脱战争的阴霾，想了很多办法，但是现实无情，总是把他们推到荒唐而危险的境况中。在一次次偷懒成功后，他们却目睹着一次次战友们血肉模糊的战场惨状。终于一个亡故战友的妻子令两人的思想有了变化，在一次对敌行动被俘后两人被处死，但他们的长官却还以为他们照旧做了逃兵。

"The Witch Burnt Alive"
After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
"Community Spirit"
Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
"The Earth Seen from the Moon"
The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
"The Sicilian"
Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

A three-way love affair in the Rome of the early seventies. Construction worker Oreste and young fiancee Adelaide meet Nello, cook in a pizzeria. This love triangle often go to communist rallies, and enjoy the filthy beach of Ostia. Will the hostile environment leave a way to jealousy?

"The Family," an album with a velvet cover, is meant to touch the extended family of man. Formal portraits, bookends in this 80-year saga, enclose the central story, which opens with the baptism of Carlo, a baby in his grandfather's lap, and ends with Carlo as a grandfather with a baby in his arms. And never once do we get out of the house, whose rooms provide the film's structure. Comfort or passion? Carlo couldn't really decide until it was too late.

1983 film by Ettore Scola

Three partisans bound by a strong friendship return home after the war, but the clash with everyday reality puts a strain on their bond.

Simple Italian postman learns to love poetry while delivering mail to a famous poet; he uses this to woo local beauty Beatrice.

In the late 19th century, a former high school teacher turned unionist tries to organize workers laboring with inhuman conditions at a textile factory.

While the Civil War rages on between the Union and the Confederacy, three men – a quiet loner, a ruthless hitman, and a Mexican bandit – comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.