IMDb RATING
7.0/10
5.1K
YOUR RATING
Inspired by Boccaccio's novellas, each episode focuses on sex, love and seduction in Italy in the 1960s, an era of economic growth and major cultural changes.Inspired by Boccaccio's novellas, each episode focuses on sex, love and seduction in Italy in the 1960s, an era of economic growth and major cultural changes.Inspired by Boccaccio's novellas, each episode focuses on sex, love and seduction in Italy in the 1960s, an era of economic growth and major cultural changes.
- Awards
- 1 nomination
Tomas Milian
- Conte Ottavio (segment "Il lavoro")
- (as Thomas Milian)
Suso Cecchi D'Amico
- (segment "Renzo e Luciana")
- (uncredited)
- Directors
- Vittorio De Sica(segment La riffa)
- Federico Fellini(segment Le tentazioni del dottor Antonio)
- Mario Monicelli(segment Renzo e Luciana)
- Writers
- Giovanni Arpino(segment Renzo e Luciana)
- Suso Cecchi D'Amico(segment Renzo e Luciana)
- Italo Calvino(segment Renzo e Luciana)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaFederico Fellini's segment, "Le Tentazioni del Dottor Antonio", was his first work in colour.
- Quotes
Anita (segment "Le tentazioni del dottor Antonio"): When I move my hips, convents shake.
- Alternate versionsThe original Italian version had four segments and was 210 minutes long. The segment "Renzo e Luciana" directed by Mario Monicelli was removed in the US version.
- ConnectionsFeatured in Cercando Sophia (2004)
- SoundtracksDay Dream
Music written by; Billy Strayhorn & Duke Ellington. English lyrics by John La Touche.
Featured review
Boccaccio '70
A quartet mini-features from the 4 most prestigious Italian directors must be a rare treat for aficionados, but since shorts sometimes has been designed to experiment maestro's more daring or outlandish innovation, so a 1+1<2 formula is well acceptable for the viewers at least.
Act 1, Monicelli's amiable modern tale of a pair of young newlyweds working in the same factory while conceiving their nuptial facts since it breaches the unfeeling regulation. Monicelli's devotion and affection to the general mass is ubiquitous, the camera follows intimately to record the lovebirds' daily work, diversion and quagmire, and the bittersweet ending is unerringly sanguine which should be the bloodline runs inside the Italian lineage.
Act 2, Fellini's ever-first colour endeavour, surrealistic, sumptuous and luscious fantasy of a moral watchdog's eventual relinquishment towards a sexy bomb (an enormous 50 feet-tall Anita Ekberg), a female-exploitation gag which is constantly overplayed (not inclusively) in Fellini's canon. But visually, Fellini's manoeuvre of projecting different proportioned characters (creates two identical settings with different sizes) is quite nimble without exposing any shoddy clues (except the forged beasts, which is a buzzkill).
Act3, Visconti's pleonastic noble Count whose brothel scandal evokes a major crisis with his wealthy but vindictive wife, a higher-tier pastiche ends up with a sloppy reference of a disparaging stinking rich's gauche prostitute fetish. At any rate Romy Schneider is the best thing in it, pairs with a well-suited Tomas Milian, presents a paragon of bourgeois vulnerability and emptiness.
Act 4, another "prostitute" farce in a rural background, De Sica seduces the world with Sophia Loren's vulgar and crude beauty, a sultry whore will spend one night with the man who guess right of the lottery number, but it turns out to be a mental masturbation joke, quite tedious and a bit offensive.
Apparently this is another patchy miscellany doesn't live up to the test of the time, Monicelli's neo-realistic part (which suspiciously is taken out completely in the original US release) is the standout and quite a pity it didn't make up to a feature-length piece of work which producer Carlo Ponti had promised then.
Act 1, Monicelli's amiable modern tale of a pair of young newlyweds working in the same factory while conceiving their nuptial facts since it breaches the unfeeling regulation. Monicelli's devotion and affection to the general mass is ubiquitous, the camera follows intimately to record the lovebirds' daily work, diversion and quagmire, and the bittersweet ending is unerringly sanguine which should be the bloodline runs inside the Italian lineage.
Act 2, Fellini's ever-first colour endeavour, surrealistic, sumptuous and luscious fantasy of a moral watchdog's eventual relinquishment towards a sexy bomb (an enormous 50 feet-tall Anita Ekberg), a female-exploitation gag which is constantly overplayed (not inclusively) in Fellini's canon. But visually, Fellini's manoeuvre of projecting different proportioned characters (creates two identical settings with different sizes) is quite nimble without exposing any shoddy clues (except the forged beasts, which is a buzzkill).
Act3, Visconti's pleonastic noble Count whose brothel scandal evokes a major crisis with his wealthy but vindictive wife, a higher-tier pastiche ends up with a sloppy reference of a disparaging stinking rich's gauche prostitute fetish. At any rate Romy Schneider is the best thing in it, pairs with a well-suited Tomas Milian, presents a paragon of bourgeois vulnerability and emptiness.
Act 4, another "prostitute" farce in a rural background, De Sica seduces the world with Sophia Loren's vulgar and crude beauty, a sultry whore will spend one night with the man who guess right of the lottery number, but it turns out to be a mental masturbation joke, quite tedious and a bit offensive.
Apparently this is another patchy miscellany doesn't live up to the test of the time, Monicelli's neo-realistic part (which suspiciously is taken out completely in the original US release) is the standout and quite a pity it didn't make up to a feature-length piece of work which producer Carlo Ponti had promised then.
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- lasttimeisaw
- Dec 6, 2012
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Details
Box office
- Gross worldwide
- $10,641
- Runtime3 hours 25 minutes
- Sound mix
- Aspect ratio
- 1.66 : 1
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