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Disguised as a priest, he roams the come vincere tanti soldi gratta e vinci streets of Rome until he finds his sister: she is dressed like a prostitute and trying to seduce a fat old customer at an outdoors cafe while a huge crowd stares silently.
The film is permeated with emotion-the funeral of the good and humble old lady in the streets, without a soul following the casket; the boy who wishes everyone he meets a nice day, thus people think he is crazy; the inauguration lottery with a chicken.After The Roof (Il tetto: 1956 another popular comedy consisting of two episodes about homelessness, De Sica, who has marked the end of Neorealism, gives up filmmaking to dedicate himself to theatrical sketching in cinema.Tony is easy to convince (Aldo pretends that the famous actress Sofia Loren is begging him for a part in the movie) despite his agent's premonitions that something is fishy.Il suicidio del vecchio che nessuno vuole piu e che non sa piu dove andare e gia un pensiero spaventoso; ma che egli vi rinuncia per dedicarsi a un cagnolino, equivale a un suicidio piu grande, al suicidio della dignita del vecchio e al suicidio.Pensate che durante quellanno, il 6 delle entrate totali legate al gioco dazzardo dei casinò del marchio Harrah furono prodotte proprio da Terry Watanabe.In 1961 he returns to filmmaking with Two Women (La ciociara) (based on Moravia's novel) loading Sophia Loren's performance in the mother's role.De Sica's and Zavattini's typical themes resurface repeatedly: childhood, the orphanage, the loneliness of the individual in the crowd, solidarity, poverty, the poor people's heaven.Il clima fatale del film, lo squallido quadro sociale l'incombente senso di catastrofe, il retroscena da film noir, si fondono con un senso chapliniano dell'infanzia vittima della societa repressiva.
Italian-style sketches are presented around (and through the eyes of) the two children.
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Two kids working as shoeshine use the profits from their work to buy a horse (which is Zavattini's symbol for the escape from slavery and harsh poverty).
During the German occupation De Sica and Zavattini produced in the Vatican Gate of Heaven (La Parte del Cielo: 1944 an account of a train trip made by factory workers, farm-workers and other humble people, which, for the poor production means, represents the first neorealist.
The whole film rests on De Sica's careful direction, on the lead actor's sober and solemn interpretation, who must portray an honest, discreet and dignified man (Toto as an old man who faces with resignation the set-backs of his fate.
I poveri inneggiano a Toto come a un santo che fa i miracoli; ciascuno esprime un desiderio e uno di loro segna tutto su un foglio, poi Toto esaudisce.Che pena quel paradiso dei poveri!It is evident that the film draws inspiration from fairy tales, both from western (fairies, witches) and eastern ones (the magic dove but also from the gospel-the boy is like a Christ born in a comic nativity play, who fulfills the prophecies on the humble.Al culmine dell'ispirazione, De Sica riesce a far fruttare anche gli elementi piu equivoci della sua arte come il sentimentalismo e l'umanitarismo, quegli elementi derivati dalla cultura borghese del secondo ottocento italiano (De Amicis, Fogazzaro) piu che da Chaplin.Gli Uomini che Mascalzoni (1932) di Camerini, La Segretaria per Tutti (1933) di Palermi, Daro un Milione (1936 il Signor Max (1937 grandi Magazzini (1939) ancora di Camerini, Napoli d'Altri Tempi (1938) di Palermi, Tempo Massimo (1934) di Mattoli e altri ancora.


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