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L'oro di Napoli (The Gold of Naples) 1954 Vittorio De Sica

content : In six episodes, the film creates a kaleidoscope of life in Naples mid-50s:

Episode 1 "Il guappo" (The Bandit)
Saverio (Totò) must not only maintain the grave of Esposito (Agostino Salvietti) deceased woman, but bear every night that this down to eat in his apartment einfindet and eating, his wife leaves. But what he can, working as a clown in the streets of Naples, already aligned against the local crime boss?

Episode 2 "Pizza a credito" (pizza on credit)
Sofia (Sophia Loren) and her husband sold Peppino (Paolo Stoppa) Pizza at a roadside stand. Peppino writes every business on this, because its customers have to pay later. When he suddenly finds that the wedding ring finger missing on his wife, he immediately closes his business, because they claimed that they have lost the dough. He wants to go to each customer of the day to find the ring again ...

Episode 3 "Funeralino"
The funeral procession slowly walks out of the narrow streets of Naples on the main road to the cemetery. The mother (Teresa De Vita) mourns the death of her son ...

Episode 4 "I giocatori" (The players)
Because the count (Vittorio De Sica) is not allowed to play for money, he secretly meets with the young son of the Porter to play with this "Scopa" a small bet ...

Episode 5, "Teresa"
As Teresa (Silvana Mangano) is picked up at the brothel where she works to congratulate her with her colleagues to the wedding with a Neapolitan nobleman. There is a chance for them to escape the environment, but they still do not know what to expect ...

Episode 6 "Il professore"
While Ersilio Miccio (Eduardo De Filippo) moves for his work, the people in front of his simple dwelling snake. Everyone has a question for him ...


That it is "L'oro di Napoli (The Gold of Naples) is not a crime film, Vittorio De Sica makes it clear from the very first text display. It is the people that give the city a face and make their actual value. For De Sica, who grew up in Naples, was the confrontation with the local conditions, a recurring element of his work, both as a performer and as a director. Not that he took in "L'oro di Napoli" both positions (in "Teresa Venerdi" he even took the lead role), makes the film to a feature, but its central position in De Sica's oeuvre between neorealism and strengthening of comedic elements.

Besides this aspect, the film was still in the character of Cesare Zavattinis current enthusiasm for film episodes. He had the year before "amore L'in città" with different directors and "Siamo Donne" brought out, he used the novel by the Neapolitan Giuseppe Marotta adjust to it a kaleidoscope, consisting of six episodes in the life Naples build in the mid 50s. The result was also with De Sica, a first common episodic film, if not in collaboration with other directors.

interesting is why the interpretive approach to the Italian way of life that De Sica in the 60 years "La Riffa" (Fourth episode from "Boccaccio '70 "), "Ieri, oggi e domani " (Yesterday, Today and Tomorrow) and Matrimonio all'italiana" brought (Wedding in Italian) to a flower that continues to shape the image of the life-Southerner, despite severe setbacks never loses his zest for life. An image whose visual basis, the beauty of Naples and the face of Sophia Loren was that played in all the films the female lead. All of these Conditions also apply for "L'oro di Napoli", who fell in contrast to the later, more popular works to date unjustly forgotten. Perhaps the reason is that here is yet to feel the closeness to the neo-realism, which is manifested not only in documentary photographs, but also in the characterizations of the inhabitants of Naples, whose behavior seems more authentic and less idealized.

second Episode "Pizza a credito" (pizza on credit)

the example of the role of Sophia Loren becomes most apparent in the second episode of Sofia, the wife of a co-working pizza chef, plays, the pizzas sells on credit to the people. Just as later, in "La Riffa" or in the first episode of "Ieri, oggi e domani" here her beauty, thus emphasizing the desire for men. In "La Riffa" they hired himself out as a prostitute out of necessity, whereas in "Ieri, oggi e domani" one child after another was given in order not to end up in prison. They even toyed with the idea to refer to another man to father, when her husband was broken. But despite these frivolous approaches, it was ultimately more honest and faithful, while it is clear in "L'Oro di Napoli" from the start that they have their corpulent husband (Giacomo Furia) cheating with a pretty boy.

From this, it is pretending to be her husband, to have been in the church. When he then noticed that her wedding ring is missing on her hand, for which he had applied a few years ago all his money, she claimed to have lost it during the kneading of the dough, although it must be clear that this is her lover . panic, her husband tries to find the ring again, as he seeks out all previous purchasers of a pizza, bothersome and even a widower who just mourned the death of his wife. Sofia accompanied him not without a guilty conscience in the vain search until you think of a trick that is almost wrong.

This episode is in their diverse views of different living habits not only the most diverse of the film, but cleverly combines drama and comedy into a multifaceted picture of the Neapolitan character that is not only lively and positive, but also selfish and narcissistic. A woman shows such as Sofia was allowed to have their naughty sides. This courage to differentiate De Sica later brought on not what is in the description of the cohesion of the population showed one another. While this was always portrayed as always in solidarity (just think of the collection of criminal money in the first episode of "Ieri, oggi e domani "), remained in "L'oro di Napoli" is not the aspect of self-interest hidden.

The sequence of short films with each other, which take place almost simultaneously in the same place, played less of a role, because each episode works both independently and as part of the whole. That in some versions, the Sophia Loren-episode comes only in third place, is therefore not decisive, however, but the reduction in the In some films - especially the published in Germany - leads to episodes that deal with very specific topics:

third Episode is "Funeralino"

Surely this is the episode of the documentary film, which requires only a few words. De Sica follows a mother (Teresa De Vita) at the funeral of her son. First, she bears the child's coffin to the coach, before a small group with her and her daughter at the top, the trail starts to the cemetery. The camera follows the path of the funeral procession only through the narrow streets of Naples before he reached the splendid main road in the Gulf. The images from the long shots make it clear that the train itself was staged, but not the environment in which it took place.

The grief of the mother, whom she overwhelmed in the end, can not conceal that the death was part of a child for life in Naples. On the spacious avenue she throws sweets for the children - a gesture that is meant to emphasize the affiliation of death to life, which proves itself at once. A large number of children come running up and is jostling for the sweets. The scene ends in accordance with their discussions about who could collect the most of it. Nothing in this short film is exaggerated or dramatized, But Vittorio De Sica gives it life in a directness that his neo-realist films such as recalls, "Umberto D".


4th Episode "I giocatori" (The players)

An opposite effect, the short episode about the card game of a count (Vittorio de Sica) with an approximately 10-year boy. And yet the comic scene about an old, distinguished man, which has forbidden his wife to play for money, so his reception has given him organize his son as a secret player, not put on funny in itself, but shows only the energy with which a man of his Pursues passion. understand

the scene in detail to, it is necessary that Italian card game "Scopa" means, for De Sica leaves at the way the boy plays the card and acknowledge the points standings, how devastating the count here is beaten. The comedy arises from the contrast of the commitment of both players. While the boy was brought by his father only on request to the game, the Count excited about the supposed happiness of the winner so on loudly, as it would have been a lot of money and not the use of a slingshot.

It is these two episodes described in its reduced form to a topic of significant character of the Neapolitan, as the often rambling, picturesque images accompanied by stories of De Sica's later films. Although there were combines many elements that should be found here by the expression of individual episodes, but it succeeds much more concentrated here. This proves the first episode, the theme of crime analytically accurate in its intrusion into the private sector - describe - as is typical of the Mafia.


first Episode "Il guappo" (The Bandit)

As Saverio (Totò) at the grave of a woman is, one has no idea that it has no kinship to her. The condolences another visitor he receives more moody, though they be particularly friendly, the other gentleman as he compared his acquaintance with Gennaro Esposito (Agostini Salvietti) mentioned to his late wife is there in the grave. When he returns to the winding streets of Naples, he is asked by a short well-dressed man if he had anything done. He might even four lighted candles, to respond Saverio.

very name of the episode with "Il guappo" is a clever comment, because actual criminal acts are not shown here. Gennaro Esposito himself would also do not as a "bandit" since he is from his position of power out, would never have made themselves their hands dirty. It is enough that the entire neighborhood turns out to him respect, particularly Saverio, who not only maintains the grave of his late wife, but for his family with four children, he goes in and out daily.

This condition lasts for ten years now, is like to hear from Saverios desperate words to his wife that Esposito had then invited out of respect to him. This has been participating for granted the role of family responsibilities one, the central position occupied at the table and listen to the children immediately, while they respect 've lost their father. This sad state of De Sica emphasized by Saverios working as a clown, when it occurs in Naples for the amusement of the population.

But how narrow is the extent in Esposito's position clear in the film, as the burly man apparently suffered a heart attack. As he weakened and frightened again for dinner at home Saverios appears, there will be an uprising. Insurgency is, of course, too big a word for Saverios reaction, but the film succeeds in a few minutes, the close network between power and dependence, which flourishes in the narrow streets of Naples, working out, or to dramatize without offering a solution for it to do.

5th Episode "Teresa"

In "Teresa" is not just about the longest episode, but the real star vehicle of the movie because Silvana Mangano, here played the title role, had been "Riso amaro (Bitter Rice) by 1949 in Italy is very popular, while Sophia Loren's career was still in its infancy.

Interestingly, this episode, despite its high entertainment value, the least predictive of the actual theme of the movie because of the conflict between the prostitute and the nobleman who marries a surprise from the brothel out is specifically tailored to Silvana Mangano. It is clear that the circumstances surrounding the wedding ceremony and also the view of the magnificent palace of local color, but ultimately they are only staffage a treacherous game and not - as in the other episodes - an integral part of the pattern.

The film lives accordingly from Silvana Mangano game, which plays the role of convincing at first intimidated prostitutes, and of growing profile. This constellation is less surprising than its final determination with which even this short film, despite its least in the reality-based character, again in "L'oro di Napoli "incorporates. Unlike many films that play with the idea of a connection between citizen and son of a prostitute, was "Teresa" no need to sugarcoat anything or put into perspective.

6th Episode "Il professore"

The short final episode describes the other hand, again unpretentious one aspect of everyday life. While a man (Eduardo De Filippo) moves in his simple apartment, many people are standing outside line. Sometimes something urgent, but disciplined, they connect in turn to his apartment to ask him something.

know this, we must, that terms such as "Il Dottore" or "Il professore" in Italy not only officially acquiring title, but also the honorary title. That it is the man for no real professor or teacher plays accordingly not matter because within the Naples community, he has earned a reputation for knowing all the answers, and no matter how absurd.

De Sica thus demonstrating once again very well the internal connections of a socialization that creates its own rules and laws. And so ended a film whose six episodes - regardless of their order - be shaped into a complex picture of a community, include the one hand, much of their own experiences of the director, but by not showing typical stereotypes, general statements about urban life.

"L'oro di Napoli" Italy 1954, directed by Vittorio De Sica, screenplay: Cesare Zavattini, Vittorio De Sica, Giuseppe Marotta, Actor: Sophia Loren, Silvana Mangano, Eduardo De Filippo, Toto, Vittorio De Sica, Running time: 130 minutes

further discussed in the blog films of Vittorio De Sica :

"Stazione Termini" (1953)
"Boccaccio '70" (1962)
"Ieri, oggi e domani " (1963)