6.5/10
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My Wife (1964)

La mia signora (original title)
Five comedic episodes, all starring Alberto Sordi and Silvana Mangano.
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Cast

Cast overview:
Alberto Sordi ... The husband (segments "L'uccellino", "L'automobile") / Sartoletti (segment "Eritrea") / Marco (segments "I miei cari", "Luciana")
Silvana Mangano ... The wife (segments "L'uccellino", "L'automobile") / Clara (segment "I miei cari") / Eritrea (segment "Eritrea") / Luciana (segment "Luciana")
Claudio Gora ... The Honourable (segment "Eritrea")
Elena Nicolai ... The mother-in-law (segment "I miei cari")
Laura Durell Laura Durell ... The hostess (segment "Luciana")
Marisa Fiorio Marisa Fiorio ... Roberta (segment "Luciana")
Mario Conocchia Mario Conocchia ... Luciana's husband (segment "Luciana")
Elena Fabrizi Elena Fabrizi ... The nun (segment "I miei cari")
Mino Doro Mino Doro ... The mayor (segment "Eritrea")
Lamberto Antinori Lamberto Antinori ... The secretary (segment "Eritrea")
Maria Tedeschi Maria Tedeschi ... The Honourable's wife (segment "Eritrea")
Alberto Censi Alberto Censi ... The captain (segment "Luciana")
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Storyline

Five comedic episodes, all starring Alberto Sordi and Silvana Mangano.

Plot Summary | Add Synopsis

Plot Keywords:

italy | See All (1) »

Genres:

Comedy

Certificate:

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Details

Country:

Italy

Language:

Italian

Release Date:

29 October 1964 (Italy) See more »

Also Known As:

A Minha Senhora See more »

Filming Locations:

Fiumicino, Roma, Lazio, Italy See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Italian censorship visa # 43987 delivered on 14-10-1964. See more »

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User Reviews

A Lady and Her Wardrobe - Not Much of a Film!
24 July 2002 | by dwingroveSee all my reviews

This so-so portmanteau movie has value mainly for fans who long to see the sublime Silvana Mangano at the crossroads of her career. In the weaker sketches (notably Luigi Comencini's vulgar and interminable Eritrea) she comes across as the rather tawdry sex-symbol of countless dodgy international epics in the 50s, all produced by her husband Dino de Laurentiis. In the stronger episodes (particularly those two directed by uber-aesthete Mauro Bolognini) she metamorphoses into a svelte Art Movie icon, as she would become in her films for Visconti and Pasolini in the late 60s and 70s. If there is one moment where Bitter Rice ends and Death in Venice begins, this may well be it.

In fact, the second and longer Bolognini episode is good enough to justify sitting (or, at least, fast-forwarding) through the rest of this movie. A story of two unhappily-married strangers who share a romantic 'brief encounter' at Rome airport, 'Luciana' shimmers with the delicate low-key eroticism that was Bolognini's stock-in-trade. His earlier and shorter sketch, 'I miei cari,' encapsulates his career-long obsession with all-powerful women and hapless men - a chic bourgeoise visits her ailing husband in hospital, only to berate him for failing to fulfill her sexual needs!

Two mini-sketches by a young Tinto Brass - at once pre-politics and pre-porn - are amusing but insubstantial trifles. Comencini's is unalloyed drek, predictably enough, and Alberto Sordi offers solid but unexciting support in all five sketches. It's Mangano's movie, and she swaggers away with it in fabulous black-and-white outfits designed by Piero Gherardi. (He dressed La Dolce Vita, 8 1/2 and - most unforgettably of all - Juliet of the Spirits.) As a record of one exquisitely beautiful lady and her wardrobe, La Mia Signora gives good value. As a film.... Well, this is one star who was destined for higher things!


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