| Sophia Loren | ... | Antonietta | |
| Marcello Mastroianni | ... | Gabriele | |
| John Vernon | ... | Emanuele, the husband of Antonietta | |
| Françoise Berd | ... | Caretaker | |
| Patrizia Basso | ... | Romana | |
| Tiziano De Persio | ... | Arnaldo | |
| Maurizio Di Paolantonio | ... | Fabio | |
| Antonio Garibaldi | ... | Littorio | |
| Vittorio Guerrieri | ... | Umberto | |
| Alessandra Mussolini | ... | Maria Luisa | |
| Nicole Magny | ... | Officer's Daughter | |
| reste de la distribution par ordre alphabétique: | |||
| Adolf Hitler | ... | Himself (archive footage) (uncredited) | |
| Benito Mussolini | ... | Himself (archive footage) (uncredited) | |
Réalisé par | |||
| Ettore Scola | |||
Scénaristes(dans l'ordre alphabétique) | ||
| Maurizio Costanzo | writer | |
| Ruggero Maccari | writer | |
| Ettore Scola | writer | |
Produit par | |||
| Carlo Ponti | .... | producer | |
Musique originale | |||
| Armando Trovajoli | (as Armando Trovaioli) | ||
Image | |||
| Pasqualino De Santis | |||
Montage | |||
| Raimondo Crociani | |||
Création des décors | |||
| Luciano Ricceri | |||
Décorateur de plateau | |||
| Luciano Ricceri | |||
Création des costumes | |||
| Enrico Sabbatini | |||
Maquillage | |||
| Franco Freda | .... | makeup artist | |
| Ada Palombi | .... | hair stylist | |
Directeur de production | |||
| Maurizio Anticoli | .... | production supervisor | |
| Giorgio Scotton | .... | production manager | |
Assistant réalisateur | |||
| Silvio Ferri | .... | assistant director | |
| Marco Pettini | .... | assistant director (uncredited) | |
Département Art | |||
| Ezio Di Monte | .... | assistant production designer | |
Technicien du son | |||
| Luciano Anzellotti | .... | sound effects | |
| Franco Bassi | .... | sound mixer | |
| Cesare D'Amico | .... | dialogue editor | |
| Alvaro Orsini | .... | boom operator | |
| Carlo Palmieri | .... | sound recordist | |
Caméra et Département Electrique | |||
| Aldo Colanzi | .... | key grip | |
| Luciano Leoni | .... | gaffer | |
| Marcello Mastrogirolamo | .... | assistant camera | |
| Idelmo Simonelli | .... | camera operator | |
Département Costume et garde-Robe | |||
| Berta Betti | .... | seamstress | |
| Giuseppina Delli Carpini | .... | seamstress | |
| Giovanni Viti | .... | assistant costume designer | |
Dpartement Editorial | |||
| Graziella Di Giovanni | .... | assistant editor | |
| Nicola Tocci | .... | color technician | |
| Pina Triunveri | .... | assistant editor | |
Divers | |||
| Vivien Boden | .... | production secretary | |
| Sergio Bologna | .... | administrator | |
| Gianfranco Lelj | .... | photographic services | |
| Ilde Muscio | .... | script supervisor | |
| Paola Scola | .... | script supervisor | |
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| Cristo si è fermato a Eboli | Hamam | Malèna | La finestra di fronte | Storia di ragazzi e di ragazze |
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Drame section | IMDb Italy section | Add this title to MyMovies |
This film has great acting, great photography and a very strong story line that really makes you think about who you are, how you define yourself, how you fit in, whether you accept to play a role or break free... There already are excellent comments dealing with these aspects. I want to comment on the formal setting of the film. Basically, it's two people on a roof. There is unity of place and time, with 2 protagonists, and the radio acting as the choir. Many directors have turned Greek tragedies into film, many directors have filmed contemporary stories as if they were a Greek tragedy, but no director, in my opinion, has succeeded as admirably as Ettore Scola in approaching the purity and force of the great Greek tragedies both in story line and formal setting. A masterpiece.