Gardenio, an old variety show performer who has once known some success, makes a living organizing third-rate tours in small provincial towns. During a show met with hisses and whistles of disapproval, the spectators demand that Caterina, the bar's lovely cashier, be allowed to sing. The show is a success and the young woman becomes part of Gardenio's small company. A famous impresario notices Caterina and offers her a fabulous contract, which she demands for Gardenio as well. Soon after, the two performers get married. But their paths diverge: while the girl goes on to success, old Gardenio prefers to give up working in television and goes back to performing variety shows in provincial towns, leaving his wife in Rome
Often noted for his sensitivity and disenchantment, Mauro Bolognini was one of the most prominent Italian directors of the 50s, 60s and 70s. Critically and commercially successful, his films featured famous actors and international stars such as Claudia Cardinale, Raquel Welch, Anthony Quinn, Marcello Mastroianni, Gina Lollobrigida, Jean-Paul Belmondo, Catherine Deneuve, Laurence Harvey and Sophia Loren, and won top prizes at the Cannes, San Sebastian and Locarno festivals. Today, strangely enough, it seems that both Bolognini and his films have fallen into oblivion. While it is totally unfair regarding most of his works, "Ci troviamo in galleria" ("Let's Meet in the Gallery") deserves to stay in limbo for it is far below the par of Bolognini's best films. Far from his usual sensuous mise-en-scene and accomplished period dramas, "Ci troviamo in galleria" is very flat and offers nothing but a forgettable story. It could have been a sort of Italian version of "A Star is Born", but alas it can't stand the comparison. Distributed in France under the title "Une fille formidable" ("A terrific chick"), the terrific girl here is not Sophia Loren in her prime, but unfortunately singer Nilla Pizzi, little known outside Italy. The film was built as a star vehicle for Pizzi whose songs will send you directly into diabetic coma (too much cheese or sugar, I haven't decided yet). To put things in a nutshell, there is little to save from Bolognini's first full-length movie. Even Alberto Sordi's huge fans will be disappointed for he appears in just one scene, playing his own part, not even being funny. Having said that, you can't miss Sophia Loren as the red-haired (!!!) dancer who steals the show in a couple of scenes, especially when she's dressed in a simple swimsuit that hides nothing of her curves. Unless you have a thesis to write on Bolognini and have to watch everything he did, or are part of Sophia's fan club and want to watch everything she did, you may skip this one. To have a full grasp of Bolognini's talent, I advise you to watch instead "Bell' Antonio", "La notte brava", "Libera, amore mio", "La viaccia", "Metello", and many others.
Often noted for his sensitivity and disenchantment, Mauro Bolognini was one of the most prominent Italian directors of the 50s, 60s and 70s. Critically and commercially successful, his films featured famous actors and international stars such as Claudia Cardinale, Raquel Welch, Anthony Quinn, Marcello Mastroianni, Gina Lollobrigida, Jean-Paul Belmondo, Catherine Deneuve, Laurence Harvey and Sophia Loren, and won top prizes at the Cannes, San Sebastian and Locarno festivals. Today, strangely enough, it seems that both Bolognini and his films have fallen into oblivion. While it is totally unfair regarding most of his works, "Ci troviamo in galleria" ("Let's Meet in the Gallery") deserves to stay in limbo for it is far below the par of Bolognini's best films. Far from his usual sensuous mise-en-scene and accomplished period dramas, "Ci troviamo in galleria" is very flat and offers nothing but a forgettable story. It could have been a sort of Italian version of "A Star is Born", but alas it can't stand the comparison. Distributed in France under the title "Une fille formidable" ("A terrific chick"), the terrific girl here is not Sophia Loren in her prime, but unfortunately singer Nilla Pizzi, little known outside Italy. The film was built as a star vehicle for Pizzi whose songs will send you directly into diabetic coma (too much cheese or sugar, I haven't decided yet). To put things in a nutshell, there is little to save from Bolognini's first full-length movie. Even Alberto Sordi's huge fans will be disappointed for he appears in just one scene, playing his own part, not even being funny. Having said that, you can't miss Sophia Loren as the red-haired (!!!) dancer who steals the show in a couple of scenes, especially when she's dressed in a simple swimsuit that hides nothing of her curves. Unless you have a thesis to write on Bolognini and have to watch everything he did, or are part of Sophia's fan club and want to watch everything she did, you may skip this one. To have a full grasp of Bolognini's talent, I advise you to watch instead "Bell' Antonio", "La notte brava", "Libera, amore mio", "La viaccia", "Metello", and many others.
