Synopsis from allmovie:
The title of this Italian slice-of-life drama translates to Young Husbands. The husbands in question rather casually enter into marriage, never intending true fidelity to their spouses. When they realize that they’re committed for life, our immature heroes return to their home town for one last fling. In the course of their final hours of bachelorhood, they come to the sobering conclusion that their carefree youth is not only past, it’s already long past.

Young Husbands PAL DVD DD2.0 x264-RR.mkv

General
Container:	Matroska
Runtime:	1h 33mn
Size:	2.28 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	720x572 ~> 784x572
Aspect ratio:	1.372
Frame rate:	25.000 fps
Bit rate:	3 284 Kbps
Audio
Italian 2.0ch AC-3 @ 192 Kbps

https://nitro.download/view/7A66B6F95AD0155/Young_Husbands_PAL_DVD_DD2.0_x264-RR.mkv

Language(s):Italian
Subtitles:English

The post Mauro Bolognini – Giovani mariti aka Young Husbands (1958) first appeared on Cinema of the World.

Synopsis:
Gemma, daughter of a lodger, is in love with her half-brother, but since she cannot marry him she ends up marrying a teacher. She doesn’t love him and betrays him but is blackmailed by a Romanian countess who forces her to become a prostitute. She’s desperate but in the end she asks her husband for help. She has learned to love him in the meantime.

La.provinciale.1953.PAL.DVD.ITA.DD.1.0.H.264-MIRCrew.mkv

General
Container:  	Matroska
Runtime: 	1 h 49 min
Size: 	2.01 GiB
Video
Codec: 	x264
Resolution: 	700x572 ~> 762x572
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	2 487 kb/s
BPP: 	0.248
Audio
#1:  	Italian 1.0ch AC-3 @ 128 kb/s (Dolby Digital Audio / 1.0 / 48 kHz / 128 kbps)

https://nitro.download/view/3AB06E399C4434A/La.provinciale.1953.PAL.DVD.ITA.DD.1.0.H.264-MIRCrew.mkv

Language(s):Italian
Subtitles:English, Italian [SDH]

The post Mario Soldati – La provinciale AKA The Wayward Wife (1953) first appeared on Cinema of the World.

1860. Italy is divided in 8 states. But after 60 years of heroic wars, frontiers’ll soon fall, thanks to Giuseppe Garibaldi & the legendary volunteers who fought with him, known as the thousand.

cinepassion wrote:
The unification of Italy from Messina to Volturno, the past made flesh by Roberto Rossellini in a commemorative mood. Il Tricolore sways splendidly under the credits and then over a map of fragmented states circa 1860, a orchestral preamble concluding with a skirmish against an electric cobalt sky. Garibaldi (Renzo Ricci) is middle-aged, ginger-bearded, rheumatic, and utterly, serenely determined; before battle, he squats by the meadow to savor some local bread: “Anyone have any salt?” As the Redshirts charge uphill, the camera takes a paradoxically distant and urgent view of the clashing brigades and puffs of gunsmoke dotting the landscape — a study in long shots, a cosmic vantage. A sprawling pan right outlines the Calabrese coast, a reverse zoom reveals the regiment stationed on the opposite beachfront, then a pan left to follow an officer into town and a tilt up to the top of a tower (one take). Clandestine meetings and round-ups introduce a whiff of derring-do, a shepherdess (Giovanna Ralli) sacrifices herself and is eulogized like the Sicilian girl in Paisà, a trampled body beneath the steamroller of history. A burro ride down winding roads by ancient ruins, an euphoric victory in a Palermo plaza accompanied by Tina Louise (“una giornalista francesa”) and Alexandre Dumas (“caro amigo!”). Wellman’s The Story of G.I. Joe, Carlo Bossoli and Francesco Hayez, Vidor’s War and Peace. King Francesco II (Raimondo Croce) ponders the situation and steps down like Renoir’s Louis XVI in La Marseillaise, “let us put on a good face.” The adventure of the Risorgimento, a vision of reconstruction from a director who witnessed the nation’s fall. The climax adduces a note of distinctly Fordian sorrow, with Garibaldi placed on reserve by the Piedmontese army and ruminating from the back of a departing boat like Rossellini himself at the mercy of dull critics. A rousing national epic in Eastman color, a bedrock formation for later portraits of monarchs and apostles and messiahs. With Paolo Stoppa, Franco Interlenghi, Leone Botta, and Giovanni Petti.

Viva L'Italia!.1961.BDRip.mkv

General
Container:  	Matroska
Runtime: 	2 h 8 min
Size: 	4.01 GiB
Video
Codec: 	x264
Resolution: 	954x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	4 266 kb/s
BPP: 	0.324
Audio
#1:  	Italian 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/E6A207B212E348C/Viva_L’Italia!.1961.BDRip.mkv

Language(s):Italian
Subtitles:English

The post Roberto Rossellini – Viva l’Italia! (1961) first appeared on Cinema of the World.

Miranda is a beautiful woman who runs a local tavern. After the loss of her husband in WWII, she tries out a variety of men. Over the course of four seasons she meets four men: in Winter the rich old council; in Spring there is the young chauffeur; in Summer the American G.I.; and in Autumn, the servant of the Tavern. Now she has to make a decision, who would be the best lover as well husband.

1.65GB | 1h 35mn | 951×572 | mkv

http://nitroflare.com/view/A0C60856457EFC2/Miranda.1985.DVDRip.x264-HANDJOB.part1.rar
http://nitroflare.com/view/A1586F43E4A8829/Miranda.1985.DVDRip.x264-HANDJOB.part2.rar

Language:Italian
Subtitles:English (muxed)

The post Tinto Brass – Miranda (1985) first appeared on Cinema of the World.

Quote:
Five men walk arm-in-arm through a sleepy Adriatic town, their lockstep a gentle echo of Italy’s Fascistic past. Such posses are quite common in Italy, where close male friendships, equal parts sensuality and ritual, are second only to the family in importance. I Vitelloni (the best sense of it is “the idlers”), Fellini’s third film, includes some of his most subtle filmmaking and most personal material. Loosely structured and oddly narrated, I Vitelloni is like a sketch for both La Dolce Vita and Amarcord. Paradoxically, I Vitelloni is also an insightful and accurate representation of Italy in the immediate postwar period, full of references to the massive social changes underway. Fifty years after its release, I Vitelloni can finally be seen as a seminal film in Italian cinema, one of the first to detail the effects of technology, celebrity, and mobility on Italian life.

Beach towns have an inherent drama, the cyclical arrival and departure of summer people like the rhythms of a theater production. For Fellini, growing up in Rimini (which bears a strong resemblance to the unnamed towns in I Vitelloni and Amarcord), the summer offered the chance to come into contact with urbanites, to hear about fashion, movies, or gossip. Television, Italy’s greatest unifier, was only launched in 1954 (the year after I Vitelloni was released), and the country remained largely provincial and surprisingly locally isolated well into the 1960s. (Even the pace of private television set acquisition was slow. It wasn’t uncommon in the 1960s to see televisions perched in a low window facing the street, each neighbor on their wooden chair in a semi-circle around the blue light.)

Although far less overtly dreamlike than Fellini’s later work, I Vitelloni has the feeling of a daydream, of memories strung together. It even begins with the end of summer, the “vitelloni” introduced in a long, narrated tracking-shot (clearly the inspiration for a similar scene in Goodfellas, and much emulated since). The backdrop is the selection of Miss Siren, a local beauty contest that serves as the official finale of the season.

Fausto (Franco Fabrizi), described in voiceover narration as the “spiritual leader” of the group, has superficial daring coupled with profound cowardice; Alberto (Alberto Sordi), an indulged and indolent mama’s boy, accepts complete financial support from his sister, yet expects her to honor him as the head of the family; Leopoldo (Leopoldo Trieste) is so busy acting the playwright that his work languishes, unfinished and unproduced; Riccardo, the least developed of any of them (played by Fellini’s real life brother, Riccardo), is the kind of forgettable warm body who provides some necessary element — in this case, a car. And the very complicated Moraldo (Franco Interlenghi), the most philosophical of the group, is acutely aware of their lives as insulated and circumscribed, the only one finally agitated enough to take action. Although he’s never identified as the narrator, Moraldo is definitely the consciousness of the film, the others flimsy as remembered shadows.

Like Moraldo, Fausto chafes at the limitations of the small town, tempted by the city. But when Fausto finally makes it to Rome, he returns with a record player and the current dance step, equipped for more fantasy. Fausto’s risks only serve to undermine himself — first by impregnating and having to marry Moraldo’s sister, then by unwisely attempting to seduce his boss’s wife. He’s not brave, merely impudent. In each case, he not only offends the women but also puts his friendship with Moraldo on the line; in the world of the “vitelloni,” this is the more serious offense.

The only elaborated female character is Sandra (Leonora Ruffo), Moraldo’s sister and the summer’s Miss Siren. Fellini uses her innocence and trustful nature to show the new world opening up to the provincials, shooting the post-coronation press conference from her perspective. Temporarily blinded by popping flashbulbs and the dutiful good wishes of a bored Roman actress, the pregnant Sandra faints. Over the course of the film, her slightly bovine beauty and credulity become transformed into a resolute strength, much of it needed to keep Fausto in line. Unlike the other characters, she and Moraldo accept responsibility and take action, adapting to rather than refusing reality.

Passivity and ineffectualness hamper all the “vitelloni”; weaknesses that trouble many Fellini characters, especially the closely autobiographical parts played by Marcello Mastroianni. There’s a definite sense of aimlessness among these sons of hardworking fathers who have no idea what to do with their lives. But the passivity is also a reflection of contemporary Italy, one of the big losers in the second world war, its modern power receptive rather than aggressive: Italy thrives on tourism. No longer conquering the world, it instead plays amiable host. Fellini conveys the sense of a country whose attractions are largely couched in the past, of a place that’s outlived its political power. At the center of the film is Alberto’s desperate, angry demand, addressed to Moraldo but self-answered. “Who are you? You’re nobody. You’re all nobodies.”

The five vitelloni are provincial archetypes, the outside world primarily the source of sexual and heroic fictions — as when they imagine a Hemingway-style safari with Esther Williams. The scene concludes with their merciless baiting of a hapless, older waiter, the routine as familiar, no doubt, to him as to them. They live in a kind of suspended animation necessary to their communal fantasy but ultimately crippling.
As befits the person remembering, Moraldo remains slightly apart, more observant than participatory. His dealings with the “vitelloni” habitual and ritualized; only in his encounters with Guido, the young railway station worker, does he seem open and curious. This good-natured boy/man seems unspoiled, without a yearning for other experiences, genuinely content. Guido sits patiently while Moraldo describes Sirius, the wandering star, mystified by the need to move and finally utterly mystified by Moraldo’s decision to leave the small town for Rome. Moraldo’s modern and to some extent alienating decision, passing up the comforts of familiarity for the unknown, leaves the “vitelloni” to sleep, literally and figuratively. Tinged with a sublime melancholy, this landmark montage shows glimpses of each of Moraldo’s comrades, fixed as memories, already half-dead as people.

Fellini wrote I Vitelloni with Ennio Flaiano, both of them having spent much of their youth palling around with their own “vitelloni.” But this is no exercise in nostalgia; throughout the film there are hints of the society in transition: from the use of “OK,” rarely heard in Italian at the time though ubiquitous today, to the wall of advertisements behind Fausto and Sandra during one of their arguments, to the driving school in the background when Fausto and Moraldo talk, the signs of nascent consumerism are everywhere. Mobility, especially in search of individual opportunity, is at the very center of American life, but Italian society has only slowly adopted this way of thinking. The move made by Moraldo, which was based on Fellini’s own abandonment of Rimini for Rome in 1938, signals a break with his deepest connections: the family and the “vitelloni.” Deceptively sketchy and simple, I Vitelloni was one of the first films to key into one of the most important ideas of contemporary cinema: the essential rootlessness of modern life.

https://nitro.download/view/F02F3A898270AD0/Federico_Fellini_-_(1953)_I_Vitelloni.mkv

Language(s):Italian
Subtitles:English

The post Federico Fellini – I vitelloni (1953) first appeared on Cinema of the World.

Description: The Wayward Wife (Italian: La provinciale) is a 1953 Italian drama film taken from an Alberto Moravia’s novel and directed by Mario Soldati. It was entered into the 1953 Cannes Film Festival.

Gemma, daughter of a lodger, is in love with her half-brother, but since she cannot marry him she ends up marrying a teacher. She doesn’t love him and betrays him but is blackmailed by a Romanian countess who forces her to become a prostitute. She’s desperate but in the end she asks her husband for help. She has learned to love him in the meantime.

Soldati studied Humanities in his native city, Turin, and History of Art in Rome. He started publishing novels in 1929 although his fame came with America primo amore, published in 1935, a diary about the time he spent teaching at Columbia University. He won literary awards for the work.
He began directing in 1938 and his most famous films are Piccolo mondo antico (1941) and Malombra with Isa Miranda, both based on novels by Antonio Fogazzaro; these two films belong to the early 1940s movement in Italian cinema known as calligrafismo.
Other popular films were Eugenie Grandet, based on Balzac’s novel, with Alida Valli; Fuga in Francia (1948); The River Girl (starring Sophia Loren) and La provinciale (starring Gina Lollobrigida).
Soldati also wrote for Italian newspapers including Il Mondo, Il Corriere della Sera, La Stampa and Il Giorno.
He died at Lerici in 1999.

https://nitro.download/view/8B6E86A10993FE5/La_provinciale.avi
http://www.nitroflare.com/view/32176C1995F80E2/La_Provinciale_En.srt

Language(s):Italian
Subtitles:English

The post Mario Soldati – La provinciale aka The Wayward Wife (1953) first appeared on Cinema of the World.

At a track near Rome, shoeshine boys are watching horses run. Two of the boys Pasquale, an orphan, and Giuseppe, his younger friend are riding. The pair have been saving to buy a horse of their own to ride… The boys meet Attilio, Giuse’s much older brother, and his shady friend at a boat on the Tiber. In return for a commission, the boys agree to deliver black market goods to a fortune-teller. Once the woman has paid, Attilio’s gang suddenly arrives. Pretending to be cops, they shake the woman down. With a payoff from Attilio, the boys are able to make the final payment and stable their horse in Trastevere over the river… The fortune-teller identifies Pasqua and Giuse. Held at an overcrowded boys’ prison, they are separated. Giuse falls under the influence of an older lad in his cell, Arcangeli. During interrogation, Pasqua is tricked into betraying Giuse’s brother to the police. With their trial still in the future, the two friends are driven further apart…

Shoeshine.1946.576p.BluRay.AAC1.0.x264-Slope.mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	2.40 GiB
Video
Codec: 	x264
Resolution: 	790x576 
Aspect ratio:  	1.372
Frame rate: 	23.976 fps
Bit rate: 	3 623 kb/s
BPP: 	0.332
Audio
#1:  	Italian 1.0ch AAC LC @ 120 kb/s

https://nitro.download/view/4AB1F26A07B6962/Shoeshine.1946.576p.BluRay.AAC1.0.x264-Slope.mkv

Language(s):Italian
Subtitles:English

The post Vittorio De Sica – Sciuscià AKA Shoeshine (1946) first appeared on Cinema of the World.