Thirteen Oscar Favorites from the Golden Age of the Art House
February 28, 2014
Baron Ferdinando Cefalù (Marcello Mastroianni) longs to marry his nubile young cousin Angela (Stefania Sandrelli), but one obstacle stands in his way: his fatuous and fawning wife, Rosalia (Daniela Rocca). His solution? Since divorce is illegal, he hatches a plan to lure his spouse into the arms of another and then murder her in a justifiable effort to save his honor. The Criterion Collection is proud to present director Pietro Germi’s hilarious and cutting satire of Sicilian male-chauvinist culture, winner of the 1962 Academy Award for Best Original Screenplay.
Baron Ferdinando Cefalù | Marcello Mastroianni |
Rosalia | Daniela Rocca |
Angela | Stefania Sandrelli |
Carmelo Patanè | Leopoldo Trieste |
Don Gaetano | Odoardo Spadaro |
Agnese | Angela Cardile |
Sisina | Margherita Girelli |
Donna Matilde | Bianca Castagnetta |
Rosario Mulè | Lando Buzzanca |
Avv. De Marzi | Pietro Tordi |
Zia Fifidda | Laura Tomiselli |
Don Calogero | Ugo Torrente |
Il Parroco | Antonio Acqua |
Director | Pietro Germi |
Screenplay | Ennio De Concini, Pietro Germi and Alfredo Giannetti |
Producer | Franco Cristaldi |
Cinematography | Leonida Barboni |
Music | Carlo Rustichelli |
Editing | Roberto Cinquini |
Production design | Carlo Egidi |
Costume design | Dina Di Bari |
SPECIAL EDITION DOUBLE-DISC SET:
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April 25, 2005Trains frame the story and provide its turning point; cars advance the plot. Through these vehicles, Pietro Germi offers locomotive relief in Divorce Italian Style, a comedy about the horrors of . . . Read more »
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April 25, 2005Trains frame the story and provide its turning point; cars advance the plot. Through these vehicles, Pietro Germi offers locomotive relief in Divorce Italian Style, a comedy about the horrors of . . . Read more »
By
April 25, 2005Trains frame the story and provide its turning point; cars advance the plot. Through these vehicles, Pietro Germi offers locomotive relief in Divorce Italian Style, a comedy about the horrors of . . . Read more »