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executed, for Paola's husband dies in an automobile accident. They are now free, but once more a death both of them might have wished for comes between them — ■ and they separate forever.
The two deaths are too much for the protagonists to countenance. The important thing was not that they were separated for a time, but that they should have found each other again after Paola's loveless marriage. This would have been the real fdm. This serious error in construction forces the director to dismiss the second death summarily, while lingering at length over the first one. In spite of this imbalance, the film lives by its virtuosity. It gives promise of a definite style of film-making with its skillful use of the moving camera.
We have further proof of this style in La Signora senza camelie (The Lady Without Camellias) (1953). The background is a film studio — whose owners are interested only in making money. It is a setting which lends itself well to facile irony and caricature, even to farce. But Antonioni describes it without cruelty , using the figure of a hopeful young actress as the central pivot of his story. She is like any young girl, chosen by a producer, put in front of a camera, and told to act. She is quite lost in the world of the cinema. She is neither agressive nor hard. When she realizes that she would really like to be a good actress, her lack of training and inadequacy overcomes her. She has an unhappy love affair. In spite of its obvious shortcomings, it is a more solid film than Story of a Love, and the last episode is very effective. Its appeal is further enhanced by its scenes of wintery Rome and its imposing scenes of Cinecitta, glistening with wet pavements and grey skies.
Comencini, Pietrangeli
Toward the end of 1953 two young directors won a well deserved success. The first of these is Luigi Comencini whose early efforts had generally shaky results : Proibito rubare (Stealing Forbidden), (1948), and Persiane chiuse (Closed Shutters), (1951), but who completely redeemed himself with Pane, Amore e Fantasia (Bread, Love and Dreams) (1953), a well conceived and flavorsome rustic comedy which presents in lively strokes the small Carabiniere post in a village in the country near Rome and the events following the arrival of the new commandant, Marshall Carotenuto. No longer young, he is not yet old. He loses his head over Pizzicarella, nicknamed « The Bersagliera », a ragged peasant girl, poor as a church mouse and a real little savage, who is in love with a young private at the post, a timid young blonde Venetian. Carotenuto is grey-haired, forceful and Neapolitan. At last the Commandant withdraws from the contest and with paternal geniality helps the young lovers. The Marshall solaces himself in the love of the attractive village midwife who accepts him with all the warmth he could wish.
Antonio Pietrangeli has made only one film up to now, II sole negli occhi (The Sun in Your Eyes) (1953), for which he wrote both the scenario and script. He placed a conscientious and highly accurate preparation at the service of an apparently rather modest, almost humble story : a young housemaid, seduced and abandoned, tries to commit suicide and afterward agrees to return to life for the child she will bear. An everyday theme, almost uniformly grey, is expressed through carefully thought out direction, highly adroit and secure