User reviews

"Marriage Italian Style" is not a comedy in my opinion even though it is often billed as such. This surprised me, I was expecting to see a more silly movie and instead got a pretty serious drama which was well acted and interesting. So I will recommend this film as a drama, but not if you're looking for a silly comedy. I did enjoy it though, especially toward the end when it all came together. You can see that there was some real emotion in here about children knowing their fathers and having legitimacy and their mothers being wed and taken care of, an issue Ms. Loren and her mother dealt with in real life I believe from what I read. And Marcello Mastroianni seemed equally fit to his role in this film as well. So in summary, a well acted Italian drama that I rate a 7/10.

Sophia Loren was the greatest actress of her generation when directed by Vittorio De Sica. Watching "Marriage Italian Style" in 2009 confirms that notion, totally. She is mesmerizing in this tragicomic creation by the great Neapolitan author Edoardo De Filippo. We manage to travel away from her external beauty, not an easy thing to do, and dive into her interior beauty and Oh God, how extraordinary! She is beyond truthful, she transforms the most basic element in a woman's heart into pure undiluted art. I was surprised to realize what a villain Domenico Soriano (Marcello Mastroianni) was. And he is the romantic counterpart! Here is where the Italians excel. What a terrifying act of self examination. The Italian male, as written by De Filippo, directed by De Sica and interpreted by the amazing Mastroianni is an everyday, almost acceptable monster in a society that breathes this kind of monster. Strange watching this now, Italy then, as far as women were concerned, were not that far away from a Muslim country. Women's role was basically subservient and a character like Mastroianni's could forge ahead un-accused and unrepentant. Besides the magic of the storytelling and the incredible performance by La Loren, this is is an excruciating document of its day.

MARRIAGE Italian STYLE is a glossy rendition of Eduardo De Filippo's Neapolitan play "Filumena Marturano", which he himself had made into a film in 1951. In this 1964 version Sophia Loren and Marcello Mastroianni take the roles previously played by Eduardo and Titina De Filippo. The story deals with the long love affair between a wealthy, arrogant and selfish Neapolitan businessman (Marcello Mastroianni) and the seemingly ignorant ex-prostitute (Loren) who attempts to trick him into marriage by pretending to be dying and then bouncing back to life. She does all this because she wants to guarantee a better life for her three semi-secret children. One of her children is his, she tells him. Which one, she will never say.

To say that Mastroianni and Loren had on-screen chemistry is an enormous understatement. They are both as marvelous together here as is other films together, most notably YESTERDAY, TODAY, AND TOMORROW and A SPECIAL DAY. For me one of the best moments in the film is Loren's walk down a sidewalk in Naples where the men and boys alike gape at her. That always knocks me out. Loren walks marvelously there and does a magnificent acting job elsewhere in this engaging dramatic farce. The film was directed by Vittorio De Sica, who had directed Loren's Academy Award performance in TWO WOMEN (LA CIOCIARA). It is among her most notable roles ever, along with TWO WOMEN, A SPECIAL DAY, THE BLACK ORCHID, and Lina Wertmüller's Saturday, Sunday, AND Monday.

Yes, Sophia Loren is breathtakingly beautiful in this movie - at times - but there is much more to it than that.

This movie does a remarkable job of developing two characters, especially Loren's character, over more than 20 years. There are no stereotypes - the warm-hearted prostitute, etc. - here, no facile caricatures. Rather, Loren, directed by di Sica, is able to develop a complex and fascinating character who goes from a 17 year old girl to a woman in her 50s. Loren does this not with fancy make-up, etc., but by ACTING. She is believable as the terrified young girl thrown into prostitution by abject poverty; she is completely believable as the 50+ year old woman defending her three children. (She was 30 when she made this movie.) I couldn't stop watching this movie. Loren is so real in it that you HAVE to find out what will become of her character.

This movie shows you what a good movie can be: something with complex, real characters whom you want to know more about. It is the complete opposite of the caricature-, stereotype-ridden formulaic pictures we get too often.

After anthologies "Boccaccio 70" and "Yesterday, Today and Tomorrow," director Vittorio De Sica returns to a single story format with his favorite actress Sophia Loren, joined yet again by Marcello Mastroianni, evoking memories of her Oscar-winning turn in "Two Women" as Filumena, devoted companion to Mastroianni's wealthy Domenico, who discovered her as a frightened 17 year old in a bordello during a wartime bomb raid, putting her to work as a domestic in his mother's home rather than waste his position in society on a woman below his station. 20 years pass and she now lies on her deathbed, requesting the presence of a priest who promptly joins the two in marriage (just as he's prepared to wed a girl half his age), Domenico stunned to see Filumena up in no time and fighting fit, and more determined than ever to emerge the victor in this battle of the sexes, not so much for herself but for the three sons she has secretly cared for over the years. There are amusing moments to be sure but it's by heart a serious drama in which Sophia effortlessly ages from bubbly coquette to middle aged dowager over 100 minutes yet still meets her perfect match in Marcello Mastroianni, who has no business being so likable when he's essentially portraying a cad.

A fine showcase for Sophia Loren who at the age of thirty portrays and older women seemingly at death's door as well as a young girl of seventeen. And throughout she has a fantastic rapport with Marcello Mastroianni and however fantastical becomes the action, however unrealistic the Italian 'realism' we believe in her. She is not, if there is such a thing, a 'classic' beauty and yet she always looks lovely. Her face can express sadness, concern, happiness and glee, all within seconds of each other and with her all the time remaining attractive. Her body is probably even more remarkable but it is the way she can move that is truly magical, and sexy. She can striptese all day long but the magic is when she begins to walk or skip along the street. Remarkable. And on the screen, of course, quite magical. So if the first half of this Vittorio De Sica film can be sluggish with comedic moments that don't quite cut it today (if they ever did outside of Italy) there is always Loren to look at and the pairing of the two to enjoy. Things get going and if we find it hard to glorify prostitution one moment and femininity and motherhood the next, it is not a problem for the Italians and eventually we too are swept along in a romanticised wave of well being.

When De Sica finally got around to filming Eduardo De Filippo's great play "Filumena" he chose two of Italian cinema's finest actors to play the leads and even if the change of title to "Marriage Italian Style" was something of a sop to commercialism the end result was still hugely satisfying. Sophia Loren, (magnificent), is Filumena, the Neopolitan prostitute, and Marcello Mastroianni, (also superb), the rich patron who strings her along for years, always finding an excuse not to marry her.

It is, of course, a comment on Italian machismo and of the subservient role of women in Italian society so perhaps the comic possibilities of the plot might escape a non-Italian audience, (comedy was never De Sica's strong point). Still, Sophia was never more radiant than she is here, so what's not to love, (she was Oscar-nominated), and De Sica does manage to keep the potential for sentimentality at arm's length. Unfortunately, the film isn't as highly thought of as it once was and isn't much seen today.

One of the biggest hits of the "Italian Comedy", starred by the top of the Italian star-system. De Sica give us a solid film all along the length, taking us from drama to comedy, they're separated by a faint border; as the life itself.

Obviously, the time has passed and some points are old-fashioned (technical resources, technology, life's perspective) but it's true the film gets one realistic approach (it couldn't be less being this film one of the examples of Italian neo-realism) about the drama of a woman who looks for dignity and fights for the good of her children.

This pink neo-realism sows us the common life of Italian people after WWII. Mediterranian country, misogyny, catholic, conservator, noisy… similar to Spain (españolada, Landismo), Greece, etc.

Good performances form Mastroianni, who is a playboy but with a good heart at least, and, especially Sophia Loren, at her prime, as Filomena, a prostitute who will fight for her honesty, dignity and her sons, a woman with attitude, tough in her acts and with some real curves. In other words the best "donna", along with Magnani, in all history.

De Sica, without reaching the lever of previous works in the 40's, makes a gret work in a field he controls like only a few people more. Good photography and ambiance. Music as Italian music, little cloying but it don't bother and it suits the film.

Thou, there are some negative points: - Relationship with children and their reaction are unnatural and the aren't worked as it'd be necessary. - Story could be analyzed in a deeper way. It's a good topic. - Make-up of Loren at 17, she doesn't look even for a moment, her body is different, no one can't do it something about it with that clothes, but the make-up could be better.

But it's a good movie, despise of these thing and the fact that is a movie made in the early 60's and other things I can't remember. You can enjoy this film and discover if you didn't make it earlier the refreshing Italian cinema.

Not a bad film. The other written reviews overrate it, surmising from their grammar, written by either born-and-raised Italians or italo-Americans clinging to an identity, laying claim to what they view as their own Hollywood.

The themes treated are, fairness, dignity, maschilismo, call to responsibility, redemption and finally feminism.

The film presents you with a subject matter that has no age, treats it lightly, but doesn't trivialize or judge and has memorable one liners. No big innaccuracies. The movie itself has aged but not badly and it's appreciation relies on recognizing the filmmaking style and conventions of the era (and it's limits) and appreciating it as a Loren, Mastroiani De Sica film. (and probably the fact that it's Italian).

The film doesn't show, only alludes to the squalor of prostitution and the Don using Filumena as a sex object. But rather concentrates on the offenses to her dignity and unrequited, unconditional love. Which in truth must be brought into question when she does the big reveal.

The two characters, Don Domenico and Filumena are defined by how they view their relationship; resulting in one-dimensional characterization. Filumena is virtuous, hard-working, and justice seeking and The Don is a hedonist opportunist sexist playboy. That's it. The film doesn't delve into their past at all to show us how they came to be who they are and they have no familial relationships or considerations (except Don's prop-like mom) to influence their decisions.

The audience can't get any insight into any of their reasoning besides what they would say to each other. Given the nature of their relationship (ego vs. ego) they shan't be direct so when they are, it feel like an unnatural exchange.

The filmmakers have to move the plot and make the audience understand the two characters' mindset in limited exchanges mostly between themselves and the script and dialogue were not quite up to this task.

The ending, a moralistic triumph for feminism, is unrealistic given the suppositions and there were no hints of, nor internal reason for the final turn of heart of The Don, and too many questions about Filomena's past unanswered. (Did she choose prostitution or forced into it? did she stop when The Don started maintaining her? When?).

The acting is ok. I didn't see this 'amazing' chemistry. They were just acting. There was nothing; mannerisms, spontaneity, or glances, that hinted at any familiarity between the two actors even if they were friends off set.

A far superior Italian comedic film is 'I Soliti Ignoti' although it doesn't have any drama but it does have a love subplot that is treated with genial comedy and naturally evolving and kinetic affair without the dreaded forced happy ending.

This is the best review on this film since I have no emotional, or hereditary connection to the material, geographical area or the artists. It differs a lot form the majority of user reviews, so I may watch it again to modify or add to it If I missed something.

Absolute classic romantic comedy with two of the absolute greats in Marcello Mastroianni and Sophia Loren. The romance is stunningly powerful, the comedy is witty and hilarious. "The more the world changes, the more it stays the same."

Marriage Italian Style is a beautiful love story between Sophia Loren and Marcello Mastroianni, that created electricity when they worked together. Passionate chemistry and amazing acting. A difficult story, which makes you question good and bad, right and wrong. It's a "problem play" which ends up happy, but not happy. You wonder what the future will bring, but hope for the best. Sophia Loren and Marcello Mastroianni could not be better matched or more compelling to watch. Overall, I've seen Marriage Italian Style many times and love it more every time.

Based on the play titled Filumena Marturano by the prestigious Neapolitan playwright Eduardo De Filippo about two peculiar characters who along the time share a thunderous relationship. Set in Naples, it deals with a rich, egostic and successful businessman with an eye on the women : Marcello Mastroianni, who at a noisy brothel meets a penniless seventeen-year-old young prostitute while an allied bombing is happening .Two years later they find again, he is the wealthy man called Domenico and she is Filumena Marturano: Sophia Loren. From now on, they will share long time of their lives for immediate post-WWII.

An enjoyable comedy starred by two greatest actors of the Italian cinema. Here there are silly incidents, humor, melodrama, twists , irony, laughs, and lots of fun. Dealing with a long, twisted relation, as the engaged, selfish man hears that his mistress is on her death bed, he goes to her side and in an emotional gesture he promises to marry her if she survives, she doesn't die and holds him to his promise, then does , they are married, however, she gives him a big surprise, three grown sons. Awesome interpretations from the two extraordinary Italian protagonists, the always splendid Marcello Mastroianni and Sophia Loren, both of whom providing terrific performances as two particular roles sharing up and down great part of their existence . The film deservedly won Golden Globes 1965 to Foreign Film.It contains a sensitive and agreeable musical score, including an attractive leitmotif, from Armando Trovajoli. As well as evocative and atmospheric cinematography by Robert Gerardi.

Well produced by the American Joseph E Levine and Italian Carlo Ponti, Sofia Loren's husband. Nice direction by the great filmmaker/actor Vittorio De Sica who keeps it adequate from being too fluffy. Vittorio was one of the best directors/actors of Italy. By the late 1920s, he was a successful matinee idol of the Italian theatre. He starred a lot of films, though many of them as a secondary actor, such as : The sign of Venus, Mateotti case, Moll Flanders, Trastevere, Ana of Brooklyn, Danae, Gastone, Austerliz, A farewell to arms, The Angel wore red, Natale al campo 119, Villa Borghese, Magdalena, Zero in condotto, being his last film : Blood for Dracula. His most known facet as a notorious director includes a lot of important pictures. He firstly made mostly light comedies. His successful filming of Neorealist films along with writer Cesare Zavattini gave classic titles as The cycle thief, Shoe shine, Umberto D who also starred, Miracle in Milan, Il giudizio universale, L'oro di Napoli and his greatest hit : Two women . Going on to shot commercial films as Woman times seven, After the fox, The witches, The garden of Finzi Contini, Station Termini, A brief vacation, Yesterday today tomorrow again with Marcello and Sophia and his final one : The voyage with Richard Burton and Elizabeth Taylor. Rating 7/10. Better than average. Well worth watching. Essential and indispendable seeing for Italian cinema buffs.

Well I think that you should watch this wonderful Italian film. It is taken from the comedy "Filumena Marturano" by Eduardo De Filippo. Marcello Mastroianni is superb and Sophia Loren is excellent. It's a pity she didn't won the second Oscar as best actress of this film.

The title-song "'O cielo ce manna 'sti 'ccose" by Fred Bongusto is absolutely wonderful.

While it is hard to dispute her win for "Two Women", even if I would have voted for Natalie Wood, it seems odd that her superior performance in this movie was not the film that she won for. Throughout the movie she is funny, heartbreaking, meek, authoritative, and incredibly sexy. I would say that there was much more of a character arc here than her pathos and tear performance in "Two Women". Oddly enough she lost the award for "Marriage Italian Style" to Julie Andrews for of all things "Mary Poppins". It was a good performance, but Mary Poppins???

The soundtrack is a tad over done at time and my DVD did not have subtitles which had watching this movie difficult.

Vittorio De Sica directs this romantic comedy which is based on a Neapolitan play by the great Eduardo De Filippo. It is a hilarious but also moving story of a relationship between a wealthy shop owner and a prostitute over the years from the second world war onwards. Complications arise when the man finds out he may have fathered one of her children....

Marcello Mastroianni and Sofia Loren are one of the great screen couples of all time. Sofia Loren had such screen presence that most men paled into insignificance when standing beside her on the set, but Mastroianni was one of the few who could match her on-screen. The acting of the two is superb, passionate but not overdone. Director Vittorio Se Sica wisely lets the two actors get on with their stuff without resorting to any gimmicks or trickery. Loren and Mastroianni light the fire on-screen and it remains aglow well after the film has ended.

Good fun and also moving.

Has Sophia Loren ever been in a movie that wasn't to die for? Vittorio De Sica's Academy Award-nominated "Matrimonio all'italiana" ("Marriage Italian Style" in English) stars her and Marcello Mastroianni as a country girl and a businessman in a romance in post-war Naples.

This is quite a different focus on post-war Italy from De Sica's "Bicycle Thieves". That one looked at the poverty that pervaded the country at the time. Here he just lets Loren and Mastroianni be as zany as they want, while also managing to address important topics. It strikes me as the sort of movie that they had a lot of fun making (not least because of the sexy shots of Sophia Loren). Basically, it reminds us why De Sica was one of the greatest directors of all time, and why Loren and Mastroianni were some of the greatest actors of all time. If you consider yourself a film buff, then you owe it to yourself to watch this movie.

Sometimes when you watch Sophia Loren's Hollywood efforts, she can look a bit unnatural - forced, even. Put her in front of Vittorio De Sica and pair her with Marcello Mastroianni, though, and she is in her element - and that makes for a really enjoyable comedy drama here. It's all set in Naples after the end of WWII when the wealthy "Don Domenico" alights on the seventeen year old, down at heel, hooker "Filumena" and over the years she becomes his mistress whom he supports comfortably. His eyes are set on a younger women for marriage and when "Filumena" discovers this she plays the ultimate of tricks on her beau forcing him to marry her instead. It's a short lived victory, however, when it transpires that her motives were less than honourable and that she has three children only one of whom is his! She won't tell him whom, he is desperate to know - will it end in tears of joy or disaster? It does take a little bit of time for us to get up to speed, but once we are in a higher gear this is a wittily written and funny story that sort of becomes a battle of the sexes - a battle of wits, certainly! Mastroianni and Loren have chemistry a-plenty between them and you can't help but have sympathy for his poor old sidekick "Alfredo" (Aldo Puglisi) too, as the romantic mayhem ensues in quite a stylish fashion. It's really well worth a watch, this - two stars at the top of their game and some fine location photography and rickety old cars!

First of all I think the naming of the movie was rather irrelevant... "Marriage Italian Style"! Well it was about everything but Italian style marriage. They named it after the great "Divorce Italian Style" to lure audience into cinema but that's not really important. It was a descent movie despite the Very flat opening, cheesy flash backs, Not so great performances but overall probably because of chemistry between Sophia Loren and Marcello Mastroianni it turned out to be a memorable romance drama movie which doesn't hurt to watch but not essential. I can't think it could be better than this because the potential was very limited in first place. For what it was, it was a good NOT AWARD WORTHY movie.