SHOUTS IN GERMAN
ROAR OF PLANES AND GUNFIRE FAR AWAY
(sotto voce) Are they gone?
- Yes? - Yes.
SOLDIERS SPEAK IN GERMAN
AIR RAID WARNING
Please.
Please let us go.
Please.
EXPLOSION
SHOOTING Ah!
(sotto voce) Lucia, Lucia...
SHOOTING
INDISTINCT VOICES IN ENGLISH
EXPLOSIONS AND SIRENS
SPEAK IN ENGLISH
- Let's get out of here. We have to leave. - No!
It is dangerous.
It will be all right.
Yes?
EXPLOSION
MELANCHOLY MUSIC FROM THE FILM
MORMORO
- Mah... - Enough of these sad movies.
(Roman accent) One goes to the cinema To see children die. Come on.
Lucia kept her promise.
By saving the little Jewish girl Is as if he saved his own daughter.
Mimosa's usual embroideries. Let's go, come on, it's late.
MORMORO
American cinema before the war was real cinema.
Some exciting stories.
Now the Italians are shoving in our faces these ugliness
As if the war was not enough for us.
They are beautiful even from behind Dad's chairs.
- Did Father make these as well? - Not all of them, some of them.
He collaborated with other carpenters.
- How beautiful Alida Valli is, ma. - Yes, she is beautiful.
But when he was doing those stories in Hollywood
Was a star of its own.
With Dad, we saw that movie about the courthouse with Gregory Peck.
Gloomy, too.
- Madam, may I have a word? - Say.
He has a beautiful daughter.
- Thank you. Let's go, come on. - Hold on, ma'am.
I work for Cinecittà and we are looking for extras for an American film.
Your daughter should give it a try, she makes good money for just one day.
- Yes, mother, please. - Shut up.
- What kind of movie is it? - It is a colossal in costume starring Josephine Esperanto.
"Kill," the Esperanto.
Nan Roth is also there, Sean Lockwood.
- Lockwood was Mac in today's movie. - Shut up.
- How much would the pay be? - Five thousand liras.
- Come tomorrow morning for auditions. - "Auditions?"
- They have to see it before they take it. - Then it's long. Let's go.
If I tell you that she has a great chance, trust me.
Yeah, right... Let's go, come on.
Convince her because you get caught. My name is Richard.
A BUS APPROACHES
- (in Neapolitan) The cinema, Elvira? - Why not? - What are you talking about?
Say she becomes a famous actress.
Crazy stuff, even the actress. And can she do it?
- (Mimosa) Yes. - You shut up. Why, has the Valli studied?
She is an actress because she is beautiful. The craft is learned.
Do you even know what he does and doesn't do Valli?
Let's give it a try, Rinaldo, so it takes the fun out of it.
- We can use five thousand lira. - They have to get it first.
You have to see how the the gentleman from Cinecittà.
- Oh yeah? - Iris is no less beautiful than Valli.
You are both beautiful, but so far the luckiest one is you.
You had insight. Angelo is perfect And you will see what a beautiful wedding you will have.
With the docile character you have, who don't you get along with?
He loves you, he is kind.
Above all, he is serious and has a good position in the police force.
We could not refuse the offer.
You are 21 years old, you are running out of time And one like that is not easily found.
- How is it? - And good.
Eh, well...
For Iris, we can take a chance.
We have to be patient and wait, sooner or later the opportunity will come.
All right.
- He convinced himself. - Yes! Yes!
Oh God, Mimo', but what am I going to wear? I only have these rags.
- How you were dressed today, that's how the man saw you. - Yes!
And how do I do my hair?
Like Stanwyck in "Flame of Sin."
Do you realize, Mimosa? Josephine Esperanto.
We read, we read again.
Here it is.
Read here.
"The visit to the mill in Tivoli. Was for Josephine Esperanto"
"the excuse to spend a merry day"
"away from the set of the colossal being filmed in Cinecittà."
"and especially from the worries procured for her by the separation."
"which recently brought her to court in America."
"We all know that despite her young age"
"the star's third marriage of the star also foundered"
"and now Josephine needs to think quietly."
"to work and career."
- Do you realize? - How beautiful you are.
> Mr. Rinaldo! Mrs. Elvira! - Who is it at this hour? - Who is it?
> Angelo, I'm here now. - Get in.
- It's Angelo. > I want to give you the pastiera. - Come.
But Angelo tuo? Wasn't he supposed to come tomorrow?
It is Angelo, he has arrived in Rome.
He doesn't know how to store the pastiera And he brought it to us.
Come on, come and say hello. Up!
Do me a favor. Close the door on your way out.
We bring you out to get to know each other better. Not in that sense, eh.
You have a talk, a walk.
- Are you going to bed, Dad? - Yes. - Do well.
Last summer, in the village at Dad's, he would take you everywhere.
He fell in love. A beautiful girl like you.
Father asked you if you liked it, you said yes. Did you change your mind?
Tomorrow you will take a walk And you will be just as good as last summer.
Look how cute you are.
Mamma mia this one with these mirrors. She's afraid they'll break.
Where is this?
Good evening, Angelo.
Good evening, sorry for the hour.
- He would be missed. Would you like to come in to freshen up? - No, thank you.
- Good evening. - Good evening.
It was just to bring this to you.
My mother made it And I didn't want it to be wasted.
- Thank you. - Doesn't he want to come in? He's had a long journey.
I'd rather go to retirement and show up tomorrow properly.
Sure, I'll see you tomorrow night for dinner.
I make a sauce That is the end of the world. Eight o'clock?
- Hi, Mimosa. - Hi.
How are you?
Good.
See you tomorrow. BEAT THE HEELS.
CONCITED ITEMS.
- We have just started, be good. - Let's make a night of it!
Gennarino, make yourself look good
so you get caught being the dwarf protagonist.
- Like your mother! - Leave my mother alone!
There is the one from yesterday, let's go.
- What do you do? - I'm lending a hand. - Don't let me see you again.
Richard.
- Richard. - Do you know what his name is? - He told me yesterday.
- Come, come. - Let's go, come on. Excuse me?
Excuse me? Excuse me. Excuse me, eh.
- Where does it take us? - We go through the back.
- What time does it end? - It is not known when it ends.
- We are doing well. Where do we wait? - Out here.
- You come along, Mimosa. - What am I doing here alone?
Waiting with mom.
- You go ahead. - Thank you, Ma.
- Don't be disappointed if you don't get caught. - At least I can see.
- Go, but be quick. I have to cook For tonight that Angelo is here. - Yes.
- So? - So?
- Don't go? - Here.
I'll close, dear.
Hi, dear.
- Sisti. Valeri. Valenti. Quarti. - Fortunato.
- What's up. - Bruno says to show you this jewel.
- I don't have time. - She needs Just the right light to shine.
- I don't count for anything. Come with me. - Do me the favor.
- The Americans decide everything. - I'll stand next to you.
Get it over with, let me work quietly.
- We don't bother anyone. - Let me work. Scoot over, come on.
We call you one at a time To get on the practicable.
- The what? - The platform, miss.
- Then what do we have to do? - Nothing, you just have to show up.
- When will you tell us if you got it? - Right away.
- Those taken go to makeup and hair. - I like that.
- What about the numbers to Bruno's friends? - You're always fucking around.
- Thank you. - Miss, you are the first one.
- Here I am. - You're welcome.
- I have a fear... - Why?
I'll be here with you.
- But what are we to do? - What should we do?
- He said we don't have to do anything. - And a word.
I have never acted.
Next.
- But where did the one from before go? - Straight to makeup. - Ah.
- Where's the trick? - Back here, I'll take you to it later.
And who doesn't get caught?
With me this risk is not taken. I'll take care of it.
- Next. - You said it was her turn.
- You broke your dick. Come on, come on. - Go, come on.
- Give. - Quick!
- Come on. - Take care, eh. - But go away!
Look, in your opinion, does your sister like me a little bit?
Go to makeup you.
Not even a little bit do you like me?
- Are you still here? - Bruno, I had nothing to do with it.
I'll show you what happens To people who want to steal movies.
- I don't want to steal any film. - Let's go outside.
- I'm doing Fortunato a favor. - Walk! - Fortunato... Help!
Bruno, he's my cousin. Fortunato is my cousin.
Head back toward the center.
Open your jacket.
The jacket, Miss.
In Ancient Egypt women did not wear jackets.
Strength.
Courage.
A little more.
Very good, thank you. Come, we'll take you to makeup.
Go ahead, it's your turn.
Will you hurry up?
On the platform, thank you.
- My sister? - Who is your sister?
- 20. - He is already in makeup.
Pull up the number, miss.
Right profile.
Let us see the number.
Like this. Left profile.
Head back toward the center.
Open the blouse.
The blouse, miss.
The masses on stage are half-naked.
Bruno, the group leader, didn't tell him?
What do we do?
- (in English) So what? - Don't do.
Out, that's enough. Get out, this way. Come on.
You come.
Where is the makeup? I need to talk to my sister.
If they didn't take you, you can't go.
I need to talk to him for a moment. My mother is waiting for us outside.
Try it, it's that way. With the confusion no one can see you.
Thank you.
INDISTINCT HUBBUB
Go, go! Push a little bit, I do it all by myself.
Go, let's push it that way.
FEMALE VOICES AND LAUGHTER
(Video) Four days ago, on the beach of Capocotta
twenty kilometers south of Ostia
The body has been found of a 21-year-old Roman woman
whose name, from initial investigations, turns out to be Wilma Montesi.
Young man of modest background, resident with family
70 Tagliamento Street.
The girl's body, an aspiring actress
who frequented the establishments of Cinecittà
in the hope of a part in the films produced each year
was found submerged half in the water, without shoes
stockings and garters, and with the jacket turned upside down on the supine head.
The doctor, who came from Pratica di Mare, makes his way through the crowd
to observe the body in a good state of preservation
And concludes that the death occurred due to drowning.
Thus, while the corpse left on the beach constitutes
a macabre point of attraction in the gray stretch of Roman shoreline
Investigators question man with the hat and cane
Who at dawn on Easter Eve found the body.
The witness, a gamekeeper in the villa of the well-known Ugo Montagna
famous for the parties he hosts in its beautiful farmhouse
cooperates patiently and answers to investigators' questions
While a grieving woman lays a cross on the beach
In memory of poor Wilma.
Miss, what are you doing there? You can't stay there, go away! Go away!
- What are you doing, young lady? - Sorry.
(Josephine in English) Well, let's go.
Josephine Esperanto.
(Sean in English) These soldiers belong to the empire...
(Sean) These soldiers belong To the empire I serve.
Miss. You have to go out, you can't stay here.
- Yes, but. - Bait, it was not taken.
- I know, I was looking for my sister. - Yes, please, this way.
The exit is that way. Goodbye, young lady.
INDISTINCT VOICES
RUGGITO
CLAMOR OF THE CROWD
DRUMROLL
Ahò, what's going on?
They are making a movie.
- And a huge thing. - There are a lot of people, come and see.
Oh!
Guys, what are you doing?
- My mother is an extra. - So what? Get off.
- Let's just watch. - Get down from there now!
Let's go, let's go.
Looking for someone, miss?
My mother. She said she was waiting for me outside, but I can't find her anymore.
Are you looking for her up here? Excuse me, who are you?
- I auditioned as an extra. - Did they take it?
- No. - Then he can't stay here.
Come down and get out from the plant, thank you.
- Can I just watch once too? - You can't, I'm sorry.
INCITEMENTS FROM THE CROWD
Miss, wait!
- Come with me. - But you have to get out. - It's been taken.
- Like Renata, very fast. - "Renata?" What's going on?
- Like Renata, quick. - Sit down. What does she have to do with Renata?
- Make her like Renata. - I got it.
- Damned carrion! - What's going on?
She stopped the scene, shouting that Renata was distracting her.
He has to do the close-up and with Renata in front he can't do it.
- What should I do? - Nothing, Josephine asked about her.
- About me? - Do you understand the crazy woman?
He wants the girl he saw in the hallway out of makeup.
Good thing I realized it was her, otherwise we'd never finish here.
Here, all of you go To die dead!
- I'll take them to iron. Quick, please. - Faster than that.
- My mother doesn't know I'm here, I have to look for her. - You can't leave.
- I don't want to undress. - You are a handmaiden, you don't have to undress.
Only the mass of the people are naked, almost naked.
It is a hypocrisy, in Ancient Egypt. handmaids had bare breasts.
- At least according to historical sources. - But what is this film about?
It is inspired by a woman who really existed.
The first and only female pharaoh in Egyptian history.
After the death of the king
With the newborn male child who could not rule
Has reigned for over twenty years in peace and prosperity.
Once dead, out of shame Of having been led by a woman
the new power has erased every trace of it for posterity.
A few years ago they discovered his grave and the story resurfaced.
- Nice. - Yes.
Although in the film the guinea fowl has become very bad.
He poisoned and killed Pharaoh In order to seize power.
When it was invaded by the Mitanno army
fell in love with the enemy prince who came to conquer the kingdom.
But the young prince falls in love with Pharaoh's daughter
the queen's stepdaughter, who doesn't go for it and fights for it.
- It is a love story. - Let's say.
You have porcelain skin.
- What about today? - Today is the final scene.
- What's going on? - You will find out soon enough.
Let's go.
We are ready to shoot!
But isn't that your sister?
But what does 1à do?
SPEAK IN ENGLISH
Silence, please!
- (Mimosa) What should I do? - Look at Josephine When you turn your gaze to her.
- Then? - And that's it.
44 29, 2nd.
GUSTS OF WIND
ACCLAMATIONS
THE CROWD FALLS SILENT
TEARS OF FIGHTING
ACCLAMATIONS
INCITATIONS
VERSES OF AMAZEMENT
Aah!
SPEAK IN ENGLISH
ACCLAMATIONS
VERSES OF DISSENT
ACCLAMATIONS
CRIES OF PAIN
(English) Let's change the angle.
(Josephine in English) Water.
(Josephine in English) Thank you.
Let's change the field, young lady. Come with me.
Giuseppina, did you know Wilma Montesi?
- Who is he? - But how? The girl they found dead in Capocotta.
- The girl on the beach? - Wilma Montesi.
Yes, I heard it on the radio. Why should I know it?
All day long the "guards" have been ask if anyone knew her.
She was an extra here, she was an aspiring actress.
I have never heard the name. What is the name?
- Wilma Montesi. - Did you know her?
- No, however... - Oh, but you don't take your clothes off?
- But where are the others? - "The others" who?
- The other extras. - All together in the cattle car.
Take it from me, it's much better here.
We are special figurations, mica like them, we are different.
My sister is staying there, I should change at her place.
Josephine, what shall we do? Shall we wait for you?
- Who are you going with? - Me, Sandra, Grace and Maria.
- I'll come along. - All right. - Do you want to come along?
- Where? - Where? At the night club.
I have to go back home, my mother doesn't know I'm here.
- Are you coming? - Coming. Bye, beautiful.
Are you still like this? Do you want to make my night?
I guess she is ashamed. Come on, she's small.
SPEAKS IN ENGLISH
- You. - (in English) You?
- Even the shoes. - How nice.
- What is this story? - You ask him.
We've been after her for two months and the bitch doesn't even say "hello" to us.
- This little girl comes along and looks. - Do you want it?
Are you also taking the piss out of me?
Maybe you'll choke on it.
Wait for me!
Leave them alone, they are bad.
- But why? - What do you care? Just put it on.
Hurry, before Josephine regrets it. That one is precise crazy.
You don't know what he has put us through in these months.
- Go ahead and try it back there. - But now?
When? Let me see how it fits.
- I can't go home like this. - You have to change anyway.
RUGGITO Oh my God!
(Rufus) Wait.
Josephine says we will carry it.
But I have to go home.
- We'll take you. - My mother is waiting for me.
There is no one left. Where is he going?
I lost her, but she is waiting for me. She can't be gone without me.
- We take her home. - I'm afraid of disturbing it.
(Josephine) No disturbance!
RUGGITI
(Josephine in English) It fits you well.
- (Rufus) The dress looks very good on you. - Thank you.
- (Josephine in English) What is your name? - (Rufus) What is your name?
- Mimosa. - Mimosa.
I have an art gallery.
More than the best, I am rather Josephine's only Roman friend.
Roman by adoption. I am American, but I have lived here for many years.
(Rufus) We met in Rome, when Josephine was making a film.
- "Walking through Rome?" - "Walking through Rome," that's right. The musical.
- (Josephine in English) Did you like it? - Did you like it?
- Yes, a lot. - (Josephine) Thank you.
(Sean in English) Hello.
- How rude. - No.
He is not happy with the way he acted today.
- Not today! Yesterday! The day before yesterday! Always! - Not.
I saw his last film, it is beautiful.
Private Mac When he saves the little girl.
Thank you.
- Mister Priori, welcome back. - Augusto.
Your friends have already arrived.
What an honor to have you back with us, Mrs. Esperanto.
- Hello, Augusto. - Please follow me.
- I should go home. - Oh God, that's right.
I am mortified, I got distracted.
(Rufus) But stay with us.
Josephine will be delighted.
Come to think of it, if he doesn't see her coming, he will take it out on me.
Sorry... Let's go.
If you want, let's go.
Let's go.
- What's going on? - Nothing, nothing.
PIANO MUSIC
BRUSÌO
Rufo dearest! You have kept your promise.
Ugo Montagna, our host.
- This is Josephine Esperanto. - Pleasure.
This young girl is...
A MAN SINGS IN ENGLISH
(Josephine in English) All right.
SINGS IN ENGLISH
APPLAUSE
It is "Roman Walk."
(Josephine) Thank you very much.
- What a voice, Mrs. Esperanto - Thank you. - What a voice!
SPEAKS IN SWEDISH
Poems...
It's okay.
Now.
- Hi. - Hi.
Today.
Hello.
Alida.
Meet Annamaria, my new flame.
- But who is he? - Adonis.
- A producer and her first husband. - (Mimosa) No, the second one.
The first is Lee Bucker.
Piero, you have finally arrived.
I need to introduce you to a producer important one that Alida already knows.
- Come. - Go on, I'll be right there.
- Champagne. - Now.
I mean, you're not Swedish.
No, I'm from Rome, but Josephine tells everyone this.
You are his pastime Of this evening.
Mrs. Valli, I am an admirer of yours.
I saw his last film yesterday with my mother and sister.
It is touching When he sacrifices himself for the child.
- She is very good. - Thank you.
What is your name?
- Mimosa. - Beautiful.
Be on the lookout for our friend, Sandy.
- Would you like another one? - No, thank you.
- Where exactly are we? - In Capocotta.
- "Headboat?" - Capocotta.
Do you want another one?
No.
Excuse me.
- I need money. - (Rufus) This is not the time.
Why? At least tell me what you think.
- Forgive me. - At least tell me what you think!
I don't know. He is somber, sad. No one would want him in the house.
So? Even Giandomenico, he also does very sad things
But you expose them, tell me why.
Giandomenico's paintings
don't look like anyone but him.
Yours resemble too many things And perhaps little like you.
- You don't know anything about me. - What is there to know?
Tell me, what is there to know?
(Rufus) Jesus... I'm sorry.
These things don't happen often, but occasionally they do.
- I would like to go home. - I've had enough, too.
Have you said goodbye to Josephine yet?
SLOW MUSIC
APPLAUSE
Sandy.
I would be going.
RHYTHMED MUSIC.
- How about you? - Alida.
- I would like to introduce... - Sorry.
THE MUSIC STOPS
Sandy.
- Let's do something. - Wait, wait.
(Sean) Bravo!
- Brava! - Brava!
APPLAUSE
Bravo!
- Brava. - Brava.
- Brava! - Brava!
Bravo!
TRUMPET MUSIC
RHYTHMED MUSIC.
Miss Sandy.
I saw my father and mother taken away by the Germans.
I was small and helpless, I felt the same helplessness.
- Miss, it was wonderful. - A play rather than a poem.
A "performance." as the Americans say.
It aroused such compassion in me I wanted to console her.
SPEAKS IN SWEDISH
Pardon! Miss Sandy.
(in English) Congratulations.
It was really nice, cool.
I have to introduce her to an important person.
Come with me, "come with me."
This way.
Here we are. Please have a seat.
Meet Mr. Brunatto.
The young lady is Norwegian, but she speaks very good Italian, doesn't she?
What does the language matter? She dances beautifully, you know?
Let's go upstairs for a drink.
You help me explain.
Mr. Brunatto wants to know more about his poems.
It is not good to refuse the invitation Of a rich and powerful man.
Mr. Brunatto could be his benefactor.
What am I saying? More! His patron.
- Priori. - Priori, I don't know. And around here.
- Home. - "After" home. After house.
Don't be insolent.
Brunatto is not used to being treated like this.
Make an effort.
Do it for me.
Shall we go have a nice glass of champagne upstairs?
Come on, let's go.
But. (in English) Why?
Miss.
Remedy.
SHOUTS IN GERMAN
(in English) A lion!
(Reinhard.
She truly escaped a lioness.
They are Anna and Marco, two friends from Rome.
You can say that again, man!
Everyone in the city is locked in the house because of the lioness.
She is Peruvian, from La Colpa, she is not from Bolivia.
"The Guilt?" What a strange name.
LOCKWOOD RIDE
"How do you do, I'm from La Colpa." What about its citizens? "Guilty?"
It takes away all your fears.
Oh, no.
COUGHS.
(in English) Are you okay?
Are you an actress?
"An actress? No.
- But are you Italian? - Yes, I'm from Rome.
Maybe I know where the lioness comes from.
She was the one in the cage in Cinecittà.
- Do you know what time it is? - It won't even be midnight.
I have to go home. My mother doesn't know I'm staying here.
- No, no, no. - Shall we go?
SPEAKS IN GERMAN
(in German) Come here.
Let me smell a saint.
I know you are not a saint anyway.
I can feel it.
- What do you want? - To be beside you.
IMITATES THE ROAR OF THE LION
Watch out for the lion!
- Where are you going? - Sandy.
Where does it go?
You are welcome.
No one will disturb you here.
- Ugo, honey. He's leaving, are you coming to say goodbye to him? - Sure.
MOANS FROM THE ROOM
THE WOMAN CRIES
(crying) No... No!
No!
What are you prying about?
Get out!
I want to go home. Take me home.
- The German actor was also scary like in your movie. - Hey.
NOISE OF UNCORKED BOTTLE
Can you explain what's going on, Armandino?
I still have guests in the house
And you have the piano taken away By a team of energetic people?
This is unheard of! Dear, but... You want to sabotage me Armandino, sorry.
Here I move the world. I need the music.
Tomorrow night I have an important dinner.
Put some strength into it, come on. What a mess they are making!
- Don't let him rub it in. - Excuse me.
- Tell me, miss. - I should go to Rome.
Out of the gate on the left, go through the woods
It runs alongside the canal and is located on the road.
- Over there is the bus stop. - Thank you.
THE PIANO CRAWLS
But is this a joke? Underneath! Take it from underneath, you moron!
Higher, take it higher! Oh! Come on, push!
Come on, push, come on!
Wilma.
Miss! I'll take you to Rome, come!
Here we are. This is the hotel.
Are you sure you have to go here?
- Whatever. - Thank you.
For so little. I have to bring the piano back here.
Excuse me, excuse me.
- (in English) Yes? - Lockwood?
Is Lockwood here?
(in Spanish) Three.
No!
LAUGHTER
- (Sean in English) Just this one time... - (Josephine) No.
Hello.
My name is Mimosa.
Thank you, I'll close.
You are welcome.
PIANO MUSIC
BRUSÌO
INAUDIBLE DIALOGUE
Good morning, Mimosa. Did you sleep here?
I looked for it everywhere last night.
What is it?
What does it mean?
I don't know, but it's beautiful. And a poem, I think.
Would you like me to drive you home? Maybe we can finally make it.
I just have to finish with those gentlemen, it's a matter of minutes.
They are collectors.
Don't worry. I'll go by myself.
- And thank you. - For what?
About everything.
Goodbye.
(Josephine) It will be a clear sky.
01:49:22.297 01:49:28.380 01:49:35.047 01:49:42.255 01:49:49.713 01:49:53.672 01:50:00.255 01:50:02.380 In the lost light.
01:50:16.172 RUGGITI