| Nino Manfredi | ... | Antonio | |
| Vittorio Gassman | ... | Gianni Perego | |
| Stefania Sandrelli | ... | Luciana Zanon | |
| Stefano Satta Flores | ... | Nicola Palumbo | |
| Giovanna Ralli | ... | Elide Catenacci, Romolo's daughter | |
| Aldo Fabrizi | ... | Romolo Catenacci | |
| Mike Bongiorno | ... | Himself | |
| Federico Fellini | ... | Himself | |
| Marcello Mastroianni | ... | Himself | |
| Nello Meniconi | ... | Himself | |
| Guidarino Guidi | ... | Himself | |
| Pierluigi | ... | Himself | |
| Alfonso Crudele | ... | Edoardo | |
| Isa Barzizza | ... | Elena | |
| Marcella Michelangeli | ... | Gabriella | |
| Livia Cerini | ... | Rosa | |
| Elena Fabrizi | ... | Anna Catenacci, Romolo's wife | |
| Fiammetta Baralla | ... | Maria | |
| Armando Curcio | ... | Palumbo | |
| Carla Mancini | ... | Lena | |
| Lorenzo Piani | ... | Enrico | |
| Amedeo Fabrizi | ... | Amedeo, Romolo's son | |
| Ugo Gregoretti | ... | Presenter | |
| Luciano Bonanni | ... | Torquato | |
| rest of cast listed alphabetically: | |||
| Vittorio De Sica | ... | Himself (archive footage) (uncredited) | |
Directed by | |||
| Ettore Scola | |||
Writing credits | ||
| Agenore Incrocci | (as Age) & | |
| Furio Scarpelli | (as Scarpelli) & | |
| Ettore Scola | (as Scola) | |
Produced by | |||
| Pio Angeletti | .... | producer | |
| Adriano De Micheli | .... | producer | |
Original Music by | |||
| Armando Trovajoli | |||
Cinematography by | |||
| Claudio Cirillo | |||
Film Editing by | |||
| Raimondo Crociani | |||
Production Design by | |||
| Luciano Ricceri | |||
Costume Design by | |||
| Luciano Ricceri | |||
Makeup Department | |||
| Renata Magnanti | .... | hair stylist | |
| Giulio Natalucci | .... | makeup artist | |
| Goffredo Rocchetti | .... | makeup artist | |
Production Management | |||
| Gianni Cecchin | .... | production manager | |
| Tonino Sarno | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Giorgio Scotton | .... | assistant director | |
Art Department | |||
| Ezio Di Monte | .... | assistant production designer | |
Sound Department | |||
| Vittorio Massi | .... | sound engineer | |
Camera and Electrical Department | |||
| Bruno Angeletti | .... | chief electrician | |
| Oddone Bernardini | .... | camera operator (as Oddo Bernardini) | |
| Amerigo Casagrande | .... | key grip | |
| Paul Ronald | .... | still photographer | |
Costume and Wardrobe Department | |||
| Antonio Randaccio | .... | assistant costume designer | |
Editorial Department | |||
| Lidia Pascolini | .... | assistant editor | |
Music Department | |||
| Armando Trovajoli | .... | conductor | |
Other crew | |||
| Antonio Barone | .... | production secretary | |
| Fausto Capozzi | .... | accountant | |
| Silvio Ferri | .... | script supervisor | |
| Alberto Mezzaroma | .... | accountant | |
| Maria Ruhle | .... | press agent | |
Thanks | |||
| Vittorio De Sica | .... | dedicatee | |
| Recent Posts (updated daily) | User |
|---|---|
| film scene | laimisas |
| Name of the song they play at the end, in the camp | jgl3-goya |
| Excellent DVD transfer! | magneez |
| DVDs? | Selque |
| Excellent | dabulash |
| sound track? | zecao |
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| Roma, città aperta | Risate di gioia | 8½ | Il generale della Rovere | Intervista |
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IMDb User Rating: |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Italy section |
"We All Loved Each Other So Much" (Italian, 1974): A film by Ettore Scola. We follow three men-friends through 30 years - weaving in and out of each others their lives, alone or in various combinations, with one particular woman. They met as "brothers in war" during the Italian Resistance of WWII. With eventual peace, each traveled their own paths, crossing and remeeting every so often. The b/w photography is beautiful, the scoring perhaps a little heavy-handed (but considering the time 1974 downright subtle), the period "looks" seems accurate enough, and the acting by all involved is good. I enjoyed some of the film's devices, such as all the actors freezing in position and the one "in thought" getting a spotlight, the occasional near-repeat of a scene/incident, the actors sometimes speaking directly to you, and other breaks with the "reality" of a film. No doubt Woody Allen saw this work before his making "Annie Hall". You might also think of this film as a more somber, sophisticated version of "The Big Chill" with fewer main characters and more internal assessment.