Three episodes. Episode 1 - The Refrigerator (Monicelli). A married couple of two poor emigrant workers spend almost all their money to buy a refrigerator (a must in the '70s). The purchase is too expensive for their family balance sheet. To earn some money they decide to go for prostitution. The wife is not so unhappy to the perspective. Episode 2 - The Room (Sordi). To celebrate ten years of marriage a couple decides to spend a quick holiday in top luxury hotels in Sardinia. But the fashion luxury VIP world is too hard to enter; they soon will end in prison. Episode 3 - The Lion (De Sica). Two adulterous, Antonio and Giulia, are blocked by a lion, staying on the exit in the place they met. They both have to come back home, but couldn't move because of the lion’s presence. The critical situation soon drives them to their limit, revealing their real essence.

(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.

The charming Adriana gets sick after her husband's death. Her brother-in-law takes her on a journey to meet a doctor, while love overwhelms them.

"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.

Under provincial Italian law at the time, once a roof is erected, the occupants cannot be evicted from a building. This comedy follows the efforts of a family to erect the roof on a house overnight so that a newlywed couple can have their own home.

A comedy of errors in which the sweetly incompetent Dr. Pietro Vignali (de Sica) has been run deep into debt by his girlfriend, Loletta Prima (Magnani). After his creditors threaten to sell his belongings, he takes a job as an orphanage health inspector to pay his debts and ends up engaged to wealthy Lilli, daughter of a mattress tycoon, and chased after by the orphan Teresa Venerdí, while trying to keep his life in order.

In Naples, a voice from the skies announces one morning that the final judgment will be at 6 p.m. on that day. What follows is a series of vignettes depicting various people's reactions (or lack there of) to the announcement.

发疯的德国战犯（马克西米连·谢尔饰）被富商父亲（弗雷德里克·马奇饰）关在家中，后者使其相信站在在15年后还在继续。

Sweet-sour comedy on Italy's 1950s rage to get rich as fast as possible! The businessman wants to satisfy his wife's craving for luxury and a "respectable life" so he becomes heavily indebted. In desperation he agrees to sell a precious part of his body for a large sum of money. But just before the crucial operation he panics...

喜剧大师彼得·塞勒斯有千面笑匠之誉，能在各种不同类型的影片中扮演各种差异性甚大的角色，本片就是一例。塞勒斯饰演一个意大利骗子，为了寻找一批黄金，假扮电影导演来到意大利的小村镇，一方面游说村民参加拍片，另一方面则假装成各种身份寻找真正的目标。

Seven mini-stories of adultery: a widow misbehaves at her husband's funeral, a wife turns to streetwalking for revenge, a prudish girl surprises, a neglected wife vies for her husband's attention, a fight over a dress, a death pact, and a detective revealed as a jealous husband's spy.

1973 film by Vittorio De Sica

茱莉亚（费·唐纳薇 Faye Dunaway 饰）刚刚结束了一段失败的婚姻，为了排解心中的郁闷，她决定前往威尼斯，和朋友们待在一起。一次偶然中，茱莉亚在电视上看到了一位名叫瓦利瑞恩（马塞洛·马斯楚安尼 Marcello Mastroianni 饰）的工程师接受采访，茱莉亚回想起这正是曾经和自己有过一面之缘的那个男人。
怀着激动之情，茱莉亚主动联络了瓦利瑞恩，和茱莉亚所想的一样，瓦利瑞恩是一位温文尔雅的绅士，随着接触的增加，两人之间燃起了热烈的爱情火花。然而，这段幸福时光并没有持续多久，在感情受到伤害的同时，茱莉亚惊闻自己换上了不治之症，绝望之中，她想到了自我了断。

An anthology of four comic moral tales about the hypocrisies surrounding sex in 1960s Italy: frothy young love and office politics in the big city; milk advertisements that begin to haunt an aging prude; a trophy wife enduring her husband's very public affairs; a lucky ticket-holder at a small town fair.

Tribute to Naples, where director De Sica spent his first years, this is a collection of 6 Napolitean episodes : a clown exploited by a gangster ; an inconstant pizza seller (Sofia) loosing her husband's ring ; the funeral of a dead child ; the gambler Count Prospero B. defeated by a kid ; the unexpected and unusual wedding of Teresa, a prostitute ; the "professor" Ersilio Micci, a "wisdom seller".

While on vacation in Rome, married American Mary Forbes becomes entangled in an affair with an Italian man, Giovanni Doria. As she prepares to leave Italy, Giovanni confesses his love for her; he doesn't want her to go. Together they wander the railroad station where Mary is to take the train to Paris, then ultimately reunite with her husband and daughter in Philadelphia. Will she throw away her old life for this passionate new romance?

1963 film by Vittorio De Sica

After World War II, a woman refuses to believe her husband, missing on the Russian front, is dead. Flashbacks reveal their brief courtship and marriage. Years later, she travels to Russia with his photo, determined to find him. What will she discover?

In his first collaboration with renowned screenwriter and longtime partner Cesare Zavattini, Vittorio De Sica examines the cataclysmic consequences of adult folly on an innocent child. Heralding the pair’s subsequent work on some of the masterpieces of Italian neorealism, The Children Are Watching Us is a vivid, deeply humane portrait of a family’s disintegration.