Accattone is a 1961 Italian drama film written and directed by Pier Paolo Pasolini. Despite being filmed from an original screenplay, academics perceive Accattoneas a cinematic rendition of Pasolini’s earlier novels, particularly Boys of Life and A Violent Life.[1] It is Pasolini’s first film as director, employing what would later be seen as trademark Pasolini characteristics; a cast of non-professional actors hailing from where the movie is set, and thematic emphasis on impoverished individuals.
While many people were surprised by Pasolini’s shift from literature to film, he had considered attending the Centro Sperimentale di Cinematografia in Rome before WWII. Pasolini had cooperated with Federico Fellini on Le notti di Cabiria and considered cinema to be writing with reality. The word “Accattone” is a slang term mainly used for beggars, referring to people who never do well, who are lazy, and who rarely hold down a job.[citation needed]
Accattone is a story of pimps, prostitutes and thieves, the same topic as his novels. Peasant culture is celebrated, in contrast to Italy’s postwar economic reforms. Pasolini’s choice of topics was scandalous, as was his blurring of the lines between the sacred and the profane. Although Pasolini tried to distance himself from neorealism, the film is considered to be a kind of second neorealism, with one critic believing it “may be the grimmest movie” he’d ever seen.[2]
Plot
Vittorio (Franco Citti), nicknamed “Accattone” (meaning ‘beggar’ in Italian), leads a mostly serene life as a pimp until his prostitute, Maddalena, is hurt by his rivals and sent to prison. Finding himself without a steady income, and not much inclination for working himself, he discovers the naive Stella and tries to lure her into prostituting herself for him. She is willing to try, but when a client begins pawing her she cries and gets out of the car. Accattone tries to support her, but gives up on honest labor after one day, and following a bizarre vision of his own death, is killed in a traffic accident when he tries to evade the police on a stolen motorcycle.
Cast
Franco Citti as Vittorio “Accattone” Cataldi. Citti, the star of the film, eventually became a professional actor, starring in many of Pasolini’s later films.
Franca Pasut as Stella
Silvana Corsini as Maddalena
Paola Guidi as Ascenza
Adriana Asti as Amore
Luciano Conti as Il Moicano
Luciano Gonini as Piede D’Oro
Renato Capogna as Renato
Alfredo Leggi as Papo Hirmedo
Galeazzo Riccardi as Cipolla
Leonardo Muraglia as Mammoletto
Giuseppe Ristagno as Peppe
Roberto Giovannoni as The German
Mario Cipriani as Balilla
Roberto Scaringella as Cartagine
Silvio Citti as Sabino
Monica Vitti (uncredited) as Ascenza (voice)
Awards
Franco Citti was nominated for the BAFTA Award for Best Foreign Actor in 1963 for his title role.[3]
References
Moliterno, Gino (February 2004). “Accattone”. Senses of Cinema Inc. Archived from the original on 2007-09-06. Retrieved 2007-09-26.
Barbaro, Nick (January 19, 2001). “Che Bella: Italian Neorealism and the Movies — and the AFS Series — It Inspired” (in English). The Austin Chronicle. Archived from the original on 7 December 2006. Retrieved 2006-12-13.
Rocco e i suoi fratelli (English: Rocco and His Brothers) is a 1960 Italian film directed by Luchino Visconti. Set in Milan, it tells the story of an immigrant family from the South and its disintegration in the society of the industrial North. The title is a combination of Thomas Mann’s Joseph and his Brothers and the name of Rocco Scotellaro, Italian poet who described the feelings of the peasants of southern Italy.[1]
The film stars Alain Delon, Renato Salvatori, Annie Girardot, and Claudia Cardinale, in one of her early roles before she became internationally known.[2] The film’s score was composed by Nino Rota.
Plot
The drama is a study of a rural Italian family led north from a poor farm in Basilicata to Milan by the matriarch (Katina Paxinou). Presented in five distinct sections, the film weaves the story of Vincenzo, Simone, Rocco, Ciro and Luca as they struggle to adapt to life in a large, impersonal city.
The plot revolves around the prostitute, Nadia (Annie Girardot), who is pursued and desired by both Simone and Rocco (Alain Delon). The pivotal scene in the film comes when Simone rapes Nadia in front of Rocco, who then gives her up to his brother out of a tragic, misplaced desire to do whatever it takes to keep his family whole.
In typical fashion for a director known for helping build Italian neorealism, the film ends with no substantive resolution, but with clouds of doom hanging over the family.
During shooting, the film was seized and Visconti asked to delete the scenes showing Nadia’s rape and murder. Visconti was not vindicated until a court judgement of 1966.[3]
Cast:
Alain Delon as Rocco Parondi
Renato Salvatori as Simone Parondi
Annie Girardot as Nadia
Katina Paxinou as Rosaria Parondi
Max Cartier as Ciro Parondi
Alessandra Panaro as Ciro’s Fiancée
Spiros Focás as Vincenzo Parondi
Rocco Vidolazzi as Luca Parondi
Claudia Cardinale as Ginetta, Vencenzo’s fiancée
Claudia Mori as Laundry Worker
Adriana Asti as Laundry Worker
Enzo Fiermonte as Boxer
Nino Castelnuovo as Nino Rossi
Rosario Borelli as Un biscazziere
Renato Terra as Alfredo, Ginetta’s brother
Roger Hanin as Morini
Paolo Stoppa as Cecchi
Suzy Delair as Luisa
Critical response
The film critic for The New York Times, Bosley Crowther, gave the film a positive review and appreciated the direction of the film and acting. He wrote, “A fine Italian film to stand alongside the American classic,The Grapes of Wrath, opened last night …It is Luchino Visconti’s Rocco and His Brothers (Rocco e i suoi fratelli), and it comes here garlanded with laurels that are quite as appropriate in this context as they are richly deserved…Signor Visconti has clearly conceived his film and that is what his brilliant handling of events and characters makes one feel. There’s a blending of strong emotionalism and realism to such an extent that the margins of each become fuzzy and indistinguishable…Alain Delon as the sweet and loyal Rocco…is touchingly pliant and expressive, but it is Renato Salvatori …who fills the screen with the anguish of a tortured and stricken character. His raw and restless performance is overpowering and unforgettable…[and the] French actress Annie Girardot is likewise striking as the piteous prostitute…”[4]
The staff at Variety magazine lauded the drama, and wrote, “With all its faults, this is one of the top achievements of the year in Italy…Scripting shows numerous hands at work, yet all is pulled together by Visconti’s dynamic and generally tasteful direction. Occasionally, as in the near-final revelation to the family of Simone’s crime, the action gets out of hand and comes close to melodrama. Yet the impact of the main story line, aided by the sensitive, expertly guided playing of Alain Delon as Rocco, Annie Girardot as the prostie, and Renato Salvatori as Simone, is great. Katina Paxinou at times is perfect, at others she is allowed to act too theatrically and off-key.”[5]
When the film was released in DVD format, critic Glenn Erickson said, “A major pleasure of Rocco and his Brothers is simply seeing its portrait of life in working-class Milan in 1960. Beautifully directed in the housing projects and streets of the city, this is a prime example of a film which will accrue historical interest simply because it shows so much of how people lived and what places looked like (now) 40 years ago.”[6]
Awards
Awards
Venice Film Festival: FIPRESCI Prize, Luchino Visconti; Special Prize, Luchino Visconti; 1960.
Venice Film Festival: Silver Lion
David di Donatello Awards, Italy; David, Best Production (Migliore Produzione), Goffredo Lombardo, tied with Tutti a casa (1960); 1961.
Italian National Syndicate of Film Journalists: Silver Ribbon, Best Cinematography, B/W (Migliore Fotografia in Bianco e Nero), Giuseppe Rotunno; Best Director (Regista del Miglior Film), Luchino Visconti; Best Screenplay (Migliore Sceneggiatura): Pasquale Festa Campanile, Suso Cecchi d’Amico, Luchino Visconti, and Enrico Medioli; 1961.
Bodil Awards, Copenhagen, Denmark: Bodil, Best European Film (Bedste europæiske film), Luchino Visconti (director); 1962.
Nominations
Venice Film Festival: Golden Lion, Luchino Visconti; 1960.
British Academy of Film and Television Arts: BAFTA Film Award, Best Film from any Source, Italy; Best Foreign Actress, Annie Girardot, Italy; 1962.
References
Henry Bacon, Visconti: Explorations of Beauty and Decay, Cambridge University Press, 1998, p.105
Rocco and His Brothers at the Internet Movie Database.
Buss, Robin. Italian Films, “Rocco and His Brothers,” page 142. London: Anchor Press Ltd. ISBN 0-7134-5900-X.
Crowther, Bosley. The New York Times, film review, January 28, 1961. Last accessed: December 31, 2007.
Variety. Film review, September 6, 1960. Last accessed: December 31, 2007.
Erikson, Eric. DVD Savant, DVD/film review, November 11, 2001. Last accessed: december 2, 2009.
Red Desert (Italian: Il deserto rosso) is a 1964 Italian film directed by Michelangelo Antonioni and starringMonica Vitti with Richard Harris. Written by Antonioni and Tonino Guerra, the film is about a woman trying to survive in the modern world of cultural neurosis and existential doubt. Red Desert, Antonioni’s first color film, is renowned for stunningly colored industrial landscapes which express the unease, alienation, and vivid perceptions of the main character. The working title was Celeste e verde (Sky blue and green). Il deserto rosso was awarded the Golden Lion at the 25th Venice Film Festival in 1964. This was the last in a series of four films he made with Vitti between 1959 and 1964, preceded by L’Avventura (1960), La Notte (1961), andL’Eclisse (1962).
Plot
In Ravenna, Italy, Giuliana (Monica Vitti) is walking with her young son, Valerio, towards the petrochemical plant managed by her husband, Ugo. Passing workers who are on strike, Giuliana nervously and impulsively purchases a half-eaten sandwich from one of the workers. They are surrounded by strange industrial structures and debris that create inhuman images and sounds. Inside the plant, Ugo (Carlo Chionetti) is talking with a visiting business associate, Corrado Zeller (Richard Harris), who is looking to recruit workers for an industrial operation in Patagonia, Argentina. Ugo and Corrado converse comfortably in the noisy factory. Ugo tells Corrado that his wife, Giuliana, had a recent auto accident, and though she was physically unhurt, she has not been right mentally. That night in their apartment, Giuliana becomes highly agitated and fearful over a dream she had about sinking in quicksand. Ugo is unable to calm her or understand what she’s experiencing.
Attracted to Giuliana, Corrado visits her at an empty shop she’s planning to open and talks about his life and the restless nature of his existence. She accompanies him to Ferrara on one of his worker recruitment drives, and she indirectly reveals details about her mental state. She tells him that when she was in the hospital, she met a young woman patient who was advised by her doctors to find someone or something to love—a husband, a son, a job, even a dog. She speaks of the young woman feeling like there was “no ground beneath her, like she was sliding down a slope, sinking, always on the verge of drowning.” They travel to a radar installation facility in Medicina, where Corrado hopes to recruit a top worker. Surrounded by cold industrial architecture, Giuliana seems lost in her loneliness and isolation.
The following weekend, Giuliana, Ugo, and Corrado are walking beside a polluted estuary where they meet up with another couple, Max and Linda, and together they drive to a small riverside shack at Porto Corsini where they meet Emilia. They spend time in the shack engaged in trivial small talk filled with jokes, role-playing, and sexual innuendo. Giuliana seems to find temporary solace in these mindless distractions. A mysterious ship docks directly outside their shack, and as she looks out to the open sea, Giuliana confides to Corrado, “I can’t look at the sea for long or I lose interest in what’s happening on land.” During their conversations, Corrado and Giuliana have grown closer, and he shows interest and sympathy for her. Like Giuliana, Corrado is also alienated, but he is better adapted to and accepting of his environment, telling her, “You wonder what to look at; I wonder how to live.” When a doctor arrives to board the ship, Giuliana, seeing that the ship is now quarantined due to an infectious disease, rushes off in a state of panic. Her unwillingness to stay, or to return to the shack to retrieve the purse she left behind, underscores her state of alienation from the others.
Sometime later, Ugo leaves on a business trip, and Giuliana spends more time with Corrado, revealing more about her anxieties. One day she discovers that her son has apparently become suddenly paralyzed from the waist down. Fearing he has contracted polio, Giuliana tries to comfort her son with a story about a young girl who lives on an island and swims off a beach at an isolated cove. The girl is at home with her surroundings, but after a mysterious sailing ship approaches offshore, all the rocks of the cove seem to come alive and sing to her in one voice. Soon after, Giuliana discovers to her shock that Valerio was only pretending to be paralyzed. Unable to imagine why her son would do such a cruel thing, Guiliana’s sense of loneliness and isolation returns.
Desperate to end her inner turmoil, Giuliana goes to Corrado’s apartment where he tries to force his affections on her. Initially resisting Corrado’s advances, Giuliana eventually accepts his affections, and the two make love in his bed. The intimacy, however, does little to relieve Giuliana’s sense of isolation. The next day, a distraught Giuliana leaves Corrado and wanders to a dockside ship where she meets a foreign sailor and tries to communicate her feelings to him, but he cannot understand her words. Acknowledging the reality of her isolation, she says, “We are all separate.” At that point, Giuliana seems to be completely alone and at her lowest state.
Sometime later, Giuliana is again walking with her son near her husband’s plant. Valerio notices a nearby smokestack emitting poisonous yellow smoke and wonders if birds are being killed by the toxic emissions. Giuliana tells him that the birds have learned not to fly near the poisonous yellow smoke.
Cast
Monica Vitti as Giuliana
Richard Harris as Corrado Zeller
Carlo Chionetti as Ugo
Xenia Valderi as Linda
Rita Renoir as Emilia
Lili Rheims as Telescope operator’s wife
Aldo Grotti as Max
Valerio Bartoleschi as Giuliana’s son
Emanuela Paola Carboni as Girl in fable
Giuliano Missirini as Radio telescope operator
Production
Cinematography
The film is set in the industrial area of 1960s Ravenna with sprawling new post World War Two factories, industrial machinery and a much polluted river valley. The cinematography is highlighted by pastel colors with flowing white smoke and fog. The sound design blends a foley of industrial and urban sounds with ghostly ship horns and an electronic music score. This was Antonioni’s first colour film, which the director said he wanted to shoot like a painting on a canvas:
I want to paint the film as one paints the canvas; I want to invent the colour relationships, and not limit myself to photographing only natural colors.
As he would do in later film productions, Antonioni went to great lengths in reaching this goal, such as having trees and grass painted white or grey to fit his take on an urban landscape. Andrew Sarris called the red hued pipes and railings “the architecture of anxiety: the reds and blues exclaim as much as they explain”.
Filming locations
Incir De Paolis Studios, Rome, Lazio, Italy (studio)
Ravenna, Emilia-Romagna, Italy
Sardinia, Italy
Meaning
Although on one level Red Desert might be taken as a story about a harsh modern industrial culture to which only the neurotic Giuliana has awakened, Antonioni later said he wanted to show that industrial technology has a beauty of its own and that he had filmed a story about human adaptability, in that Giuliana must “confront her social environment”.
It’s too simplistic to say—as many people have done—that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. My intention … was to translate the poetry of the world, in which even factories can be beautiful. The line and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. It is a rich world, alive and serviceable … The neurosis I sought to describe in Red Desert is above all a matter of adjusting. There are people who do adapt, and others who can’t manage, perhaps because they are too tied to ways of life that are by now out-of-date.
Movie poster for Federico Fellini’s “La Dolce Vita”
La Dolce Vita (Italian pronunciation: [la ˈdoltʃe ˈviːta]; Italian for “the sweet life” or “the good life”) is a 1960 comedy-drama film written and directed by the critically acclaimed director Federico Fellini. The film follows Marcello Rubini, a journalist writing for gossip magazines, over seven days and nights on his journey through the “sweet life” of Rome in a fruitless search for love and happiness. La Dolce Vita won the Palme d’Or (Golden Palm) at the 1960 Cannes Film Festival and theOscar for Best Costumes.
Plot
Based on the most common interpretation of the storyline,[4] the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue. If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not necessarily be the case.
Prologue
1st Day Sequence: A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubini’s news helicopter, follows it into the city. The news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building. Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt then shrugs and continues on following the statue into Saint Peter’s Square.
Episode 1
1st Night Sequence: Marcello meets Maddalena (Anouk Aimée) by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome and constantly in search of new sensations while Marcello finds Rome suits him as a jungle he can hide in. They make love in the bedroom of a prostitute to whom they had given a ride home in Maddalena’s Cadillac.
1st Dawn Sequence: Marcello returns to his apartment at dawn to find that his fiancée, Emma (Yvonne Furneaux), has overdosed. On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena.
Episode 2
2nd Day Sequence: That day, he goes on assignment for the arrival of Sylvia (Anita Ekberg), a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters.
During Sylvia’s press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of journalists’ questions, Marcello casually recommends that Sylvia be taken on a tour of St Peter’s.
Inside St Peter’s dome, a news reporter complains that Sylvia is “an elevator” because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they finally reach the balcony overlooking the Vatican.
2nd Night Sequence: That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla. Sylvia’s natural sensuality triggers raucous partying while Robert (Lex Barker), her bored fiancé, reads a newspaper. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.
2nd Dawn Sequence: Like a magic spell that has suddenly been broken, dawn arrives at the very moment Sylvia playfully “anoints” Marcello’s head with fountain water. They drive back to Sylvia’s hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello who takes it in stride.
Episode 3a
3rd Day Sequence: Marcello meets Steiner (Alain Cuny), his distinguished intellectual friend, inside a church playing Bach on the organ. Steiner shows off his book of Sanskrit grammar.
Episode 4
4th Day Sequence: Late afternoon, Marcello, his photographer friend Paparazzo (Walter Santesso), and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children. Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site.
3rd Night Sequence: That night, the event is broadcast over Italian radio and television. Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna. Meanwhile, Emma prays to the Virgin Mary to be given sole possession of Marcello’s heart.
3rd Dawn Sequence: The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee.
Episode 3b
4th Night Sequence: One evening, Marcello and Emma attend a gathering at Steiner’s luxurious home where they are introduced to a group of intellectuals who recite poetry, strum the guitar, offer philosophical ideas, and listen to sounds of nature recorded on tape. While one of the women declares it better not to get married so that one does not need to choose, Marcello responds that it is better to be chosen than to choose. Emma appears enchanted with Steiner’s home and children, telling Marcello that one day he will have a home like Steiner’s.
Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life. Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day.
Intermezzo
5th Day Sequence: Marcello spends the afternoon working on his novel at a seaside restaurant where he meets Paola (Valeria Ciangottini), a young waitress from Perugia playing Perez Prado’s cha-cha Patriciaon the jukebox and then humming its tune. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.
Episode 5
5th Night Sequence: Marcello meets his father (Annibale Ninchi) visiting Rome on the Via Veneto. With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny (Magali Noël), a beautiful dancer and one of his past one-night stands (he had promised to get her picture in the paper, but failed to do it). Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home. Fanny invites Marcello’s father back to her flat, and two other dancers invite the two younger men to go with them. Marcello leaves the others when they get to the dancers’ neighborhood. Fanny comes out of her house, upset that Marcello’s father has gotten ill.
4th Dawn Sequence: Marcello’s father has suffered what seems to be a mild heart attack. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home. He leaves Marcello forlorn, on the street, watching the taxi leave.
Episode 6
6th Night Sequence: Marcello, Nico (playing herself), and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome. There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber. As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane (Audrey McDonald), an American artist and heiress.
5th Dawn Sequence: Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.
Episode 3c
7th Night Sequence: Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by protesting her love, and tries to get out of the car; Marcello pleads with her not to get out. Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged at her, telling her that he cannot live with her maternal and smothering love. He now wants her to get out of the car, and she refuses. With some violence (a bite from her and a slap from him), he throws her out of the car and drives off. She is left alone on a dark, lonely road, in the dark. After some hours (it is now dawn), Emma is still alone on the road, holding flowers, when she hears his car approaching. She gets in the car without saying a word.
6th Dawn Sequence: Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. He rushes to the Steiners’ apartment and learns that Steiner has killed himself and his two children.
6th Day Sequence: After waiting with the police for Steiner’s wife to return home, he meets her outside to break the terrible news while paparazzi swarm around her snapping pictures.
Episode 7
8th Night Sequence: An unspecified amount of time later, an older Marcello—now with gray in his hair—and a group of partygoers break into a Fregene beach house owned by Riccardo, a friend of Marcello’s. To celebrate her recent divorce from Riccardo, Nadia performs a striptease to Perez Prado’s cha-cha Patricia. The drunken Marcello attempts to provoke the other partygoers into an orgy. Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees. Riccardo shows up at the house and angrily tells the partiers to leave.
Epilogue
7th Dawn Sequence: The party proceeds to the beach at dawn where they find a modern-day leviathan, a bloated, stingray-like creature, caught in the fishermen’s nets. In his stupor, Marcello comments on how its eyes stare even in death.
7th Day Sequence: Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves. He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach. In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile.
UTK Cinema Studies: History of Italian Cinema 