Era di venerdì 17

From the opening scene to the final gripping ending, this film held me spellbound throughout. The story was presented in a life-like setting by the excellent cast. This was the first time I got teary-eyed at the end of a film. I saw this film in the early 60s and the ending continually haunts me. This film is what going to the movies is really about.

Fernandel is no doubt one of the greatest actors of all time and without challenge the greatest of his generation in France. Capable of playing farce and comedy as well as tragedy Fernandel her mingles both in a rather strange story. The atmosphere of the Provence is superbly captured in the first part of the movie when Fernandel has to take the bus because he forgot his train ticket. As the bus driver stalls the departure because his wife is about to give birth and then invites everyone on the bus to join the celebration the actual "savoir vivre" of the Provencal is demonstrated in detail. The long and intense monologue at the end of the movie grabs the spectator by the throat and makes you sit at the very edge of your seat. Although superbly made and acted the whole is sometimes a bit slow for modern tastes, but it only serves to make the climax that more intense.

This remake of Alessandro Blasetti's "Quattro fra le nuvole" is a noteworthy effort. The plot follows Paolo, a traveling salesman caught in a loveless marriage and a frustrating poorly paid job. While traveling for work he meets young Maria who is pregnant and unwed (a disaster for a woman in those days). Maria asks Paolo to pose as her husband to avoid her parents' anger at her state. Will Paolo help her out?

What works best in this film is the story (famed screenwriter Cesare Zavattini contributed to it) and the marvelous performance by Fernandel as Paolo. French actor Fernandel was an exceptional actor who could move seamlessly between comedy and drama and in this film he gives a fine dramatic and truly affecting performance that surpasses even that of Gino Cervi in the original version of this film. And that is really saying something.

What does not work is Alberto Sordi's over-the-top cameo performance as the bus driver. Alberto Sordi is one of Italy's greats but not in this film. I guess it was early in his career and he seems to try too hard to steal the show. His performance is truly grating. The director (Mario Soldati) should not have let this happen.

Overall, a fine effort. And the final shot is truly memorable.