- 7 months ago
Con "La donna del giorno", Francesco Maselli firma nel 1957 un'opera ambiziosa e lucida, che riflette criticamente sull'Italia del boom economico e sulla nascente società dello spettacolo. Incentrato sulla figura di una giovane e splendida donna, Lucia (interpretata da una luminosa Virna Lisi), il film racconta la rapida e spietata costruzione mediatica di un’icona femminile, creata a tavolino per rispondere ai bisogni di una stampa alla ricerca di modelli e sensazionalismi. Il film si colloca nel filone del neorealismo tardivo, ma se ne distacca per forma e contenuti, anticipando il cinema di denuncia e introspezione psicologica degli anni Sessanta. La regia di Maselli è elegante e sobria, con una fotografia in bianco e nero che sottolinea l’ambiguità del mondo rappresentato: luci scintillanti ma realtà opaca. Il film è sorprendentemente attuale: già nel 1957 Maselli denuncia la mercificazione del corpo femminile, la fabbrica del consenso attraverso i media, e l'effetto corrosivo della fama non desiderata. La donna del giorno anticipa molti temi che saranno al centro della riflessione sul potere dell’immagine nella società contemporanea.
La sceneggiatura firmata insieme a Cesare Zavattini si muove con intelligenza tra satira e dramma, evidenziando le dinamiche di manipolazione dell'immagine femminile e il ruolo sempre più centrale dei media nella costruzione dell’identità. Dietro la patina del successo, la protagonista si scopre alienata, svuotata della propria autenticità, prigioniera di un'immagine che non le appartiene.
Trama: Liliana è una bella indossatrice che cerca di affermarsi, di far fortuna: accade che una notte la ragazza è trovata su una strada di campagna, svenuta. Interrogata dalle autorità di pubblica sicurezza afferma di essere stata trascinata da tre delinquenti in una villa disabitata e di aver dovuto subire la loro violenza. Il fatto, divulgato dai giornali, ha grande risonanza e Liliana diventa in breve la "donna del giorno", viene fatta segno a manifestazioni di affettuosa pietà e riceve vantaggiose offerte di lavoro...
La sceneggiatura firmata insieme a Cesare Zavattini si muove con intelligenza tra satira e dramma, evidenziando le dinamiche di manipolazione dell'immagine femminile e il ruolo sempre più centrale dei media nella costruzione dell’identità. Dietro la patina del successo, la protagonista si scopre alienata, svuotata della propria autenticità, prigioniera di un'immagine che non le appartiene.
Trama: Liliana è una bella indossatrice che cerca di affermarsi, di far fortuna: accade che una notte la ragazza è trovata su una strada di campagna, svenuta. Interrogata dalle autorità di pubblica sicurezza afferma di essere stata trascinata da tre delinquenti in una villa disabitata e di aver dovuto subire la loro violenza. Il fatto, divulgato dai giornali, ha grande risonanza e Liliana diventa in breve la "donna del giorno", viene fatta segno a manifestazioni di affettuosa pietà e riceve vantaggiose offerte di lavoro...
Category
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Short filmTranscript
00:00:00The End
00:00:30The End
00:01:00The End
00:01:30Hey look, slow down
00:01:39Stop
00:01:40Oh kid, must have been an accident
00:01:53How long do you think she's been here?
00:02:00Wait a second
00:02:01Let me see if she's still breathing
00:02:04They've got her in emergency
00:02:21Thank you
00:02:22Well, well, look who's here again
00:02:34Tell me, why don't you take yourself a nice long walk?
00:02:37I took one
00:02:37And here I am
00:02:38You're all right now
00:02:57What's your name?
00:03:00Liliana, Liliana Teni
00:03:02Can you tell me your address?
00:03:04We have her purse here
00:03:06She's from Bulgaria
00:03:07She's been living in a hotel
00:03:09All right
00:03:10A profession?
00:03:14An actress
00:03:15An actress
00:03:17How long have you been in Milan?
00:03:20A year
00:03:20Do you have any work?
00:03:25No
00:03:25In the last two weeks
00:03:26I haven't had anything
00:03:27And before?
00:03:28Not as an actress, you see
00:03:30I worked as a model
00:03:31Sometimes I post for publicity shots
00:03:34In fashion magazines
00:03:36Tell me, why did you leave home?
00:03:39Was it a matter of necessity?
00:03:41No
00:03:42I wanted to work
00:03:43To be independent
00:03:45Now tell me exactly what happened last night, huh?
00:03:51I'm sorry, believe me
00:03:52But please do your best to answer
00:03:53Take everything down
00:03:55Yes, sir
00:03:56Come on, now
00:03:57Try and remember
00:03:58Huh?
00:04:05There were three
00:04:06They were in a car
00:04:08And they called to me
00:04:09But I wouldn't answer
00:04:11So two of them got out and tried to
00:04:12They forced me in
00:04:14I couldn't even scream
00:04:16I was gagged
00:04:18Blindfolded, too
00:04:19Then we drove for hours
00:04:20Till we got to that empty house
00:04:22That's when they
00:04:23Dragged me in
00:04:25Where did they pick you?
00:04:41Outside the Porto Romano
00:04:44Around ten o'clock
00:04:45And what were you doing at that hour
00:04:47At the Porto Romano?
00:04:49I was looking for a room
00:04:50I needed a place that was less expensive
00:04:53Very well, try to rest now
00:04:55First thing tomorrow, we'll check our story
00:04:57Meanwhile, I don't wonder
00:04:58Leaving here, we'll call for her in the morning
00:05:00I'll try my best
00:05:01But I don't think there's an empty bed
00:05:02In the entire hospital
00:05:03There's an injured man, an accident
00:05:05Serious?
00:05:06No, but he's in shock
00:05:07You better send him in
00:05:08Very well, sir
00:05:08Oh, try and locate a bed for this young lady
00:05:10Very well, sir
00:05:11Listen, Salustri
00:05:14Do me a favor
00:05:15Let me have 24 hours to work in peace
00:05:17Till the day after tomorrow
00:05:18I'm sure the story will keep
00:05:20The third case this month
00:05:22The only victim to survive is news
00:05:24You're not going to ask me to forget it
00:05:25If you think you've got to report it
00:05:27There are no beds available in the ward
00:05:31Well, then ask the head sister
00:05:32If we can put her card in her room
00:05:34Well, I'm not going to ask her
00:05:35She doesn't approve of me
00:05:37Can't you send somebody else?
00:05:41Excuse me, is Sister Maria the head nurse?
00:05:43Yes
00:05:44Doctor, may I talk to her?
00:05:45Sure, you can try
00:05:46Thank you
00:05:47There
00:05:50Are you comfortable now?
00:05:53I feel cold
00:05:54It's so cold
00:05:56I've arranged how everything's brought down
00:05:59Good
00:05:59Also, I told the doctor she was here
00:06:00Thank you
00:06:02That's all right
00:06:02Good night
00:06:02I know you've had a pretty rough time
00:06:08But try to sleep now
00:06:10And try not to be afraid
00:06:12The police are doing everything possible
00:06:15To find these men
00:06:16They're bound to catch up with them
00:06:17Tomorrow, tell me
00:06:19Do I have to go along with the police?
00:06:22It's all been so awful for me
00:06:24I'll see what I can do
00:06:26Get some rest now
00:06:27Take front face story
00:06:52Not a rape case
00:06:52She's still alive
00:06:53Want another one?
00:06:54Come on
00:06:56Come on
00:06:57Come on
00:06:58Come on
00:06:59Listen to me
00:07:09Thank you
00:07:09Come on
00:07:10The End
00:07:40Will you let us please? Will you let us through?
00:08:02Your mother's here. Can you miss your mother's cup?
00:08:04You look so terribly pale. Thin.
00:08:22She'll be all right now that you're here, isn't she? Feeling better?
00:08:26Thanks. Did you rest? Yes. Your father wasn't able to get here. But I'll take care of you, my sweetheart.
00:08:36Mr. Kenny, can you tell us that they found out anything?
00:08:48Did you get a good look at their faces? Were they young or were they old?
00:08:53Please, please try and have some consideration. I beg you, the poor child is all upset.
00:09:00Come on, boys. Be good sports. Try to understand.
00:09:03Lillian, I'm so glad you're all right. You look fine.
00:09:07And be sure to let me know if there's anything I can do for you.
00:09:11I thought we'd look at you. But as a matter of fact, it was a miracle they found her. And that she was alive to tell the story. Let me see if I can get rid of those newspaper men. Just listen to them. But why did you write to us that you were doing well? Seeing you in such a place, I didn't want to worry you. I kept thinking I'd get a break. But your work is a model.
00:09:29Oh, there wasn't much work. A few publicity shots, nothing very important. And then, I know you have your own problems. You have your hands full with father. How are things going?
00:09:49Oh, as usual. Your father's always complaining. This is no good. That's no good. He's impossible. Then, when he heard about you. But listen to that noise. The stairs will collapse if they continue like that.
00:10:01Hey, tell us, have you located that empty house? No, but we have several leaves. Are you concentrating on anyone in particular? Yes, we're combing the area where the girls closed.
00:10:29In her shoes. Have you found any trace of them? Has there been any evidence to confirm that they're sex maniacs? Have you found the car yet?
00:10:35Now, please, fellas, will you all calm down? We're investigating every lead we've got. We know the car was a gray Mercedes sedan. However, we've decided there's no point in trying to trace it this way. It would be useless.
00:10:47There are probably 40,000 cars that fit that description in Milan. But we've found some new clues to follow now. We're also busy studying records on the past two cases.
00:10:55Is there definitely a connection between all three? And do you actually have evidence that the same criminals are involved?
00:11:01There is no definite evidence at this time. But a great number of circumstances lead us to believe there may be a connection.
00:11:08What measures exactly are being taken to make sure the criminals will be brought to justice? Our cars are available on duty. And we put on extra squads for protection. You can tell your newspapers that if there's anything that could be done to break this case, the police are taking care of it. And that's as much as I have to tell you.
00:11:25Here's a photo of Liliane at the time of the Rose Contest in Vogueira. It was taken just a moment before they presented the awards.
00:11:32And this one, the brunette, she remained of Vogueira?
00:11:35I'm not sure. There's no comparison. Without a doubt, your daughter was the most beautiful contestant.
00:11:40Liliane's father was violently opposed to all this. He doesn't understand. He's from Vogueira, you know. But I fought for my Liliane, you see. I knew what such a thing could mean to go away and live in Milan.
00:11:51Oh, I suppose it must be unusual, but I've tried to be a modern mother. As a mother, it was a difficult decision, you see.
00:11:58That's life, you know. C'est la vie. Don't forget it. We all do the best we can. And we learn from everything that happens, poor I hope.
00:12:05This could have happened to anyone, to the best of families.
00:12:08Please excuse my friend here. Have you gone out with your hand?
00:12:10Oh, what did I say wrong now?
00:12:12Another telegram.
00:12:16I'm with you in your distress. Interested in arranging to meet your marriage proposal follows in letter. Sincerely.
00:12:26Oh, they're all so kind.
00:12:29Senora, take your place, please.
00:12:33Very good.
00:12:34Is this all right?
00:12:35Just right. Will you stand here?
00:12:37Well, let's see.
00:12:38So now, let's see. You come forward to embrace your mother. No, wait, please. I'll give you the signal.
00:12:47Is everything all ready?
00:12:48Yes.
00:12:49All right.
00:12:50All right. Silence, everybody. Eh?
00:12:52Camera.
00:12:53Start action.
00:12:54Stop.
00:12:55Wonderful.
00:12:56May we get on with the interview? Please sit down. Oh, the microphone, please. Joe.
00:13:15Miss Attorney, would you be good enough to give us a few words, please? The public is anxious to hear from you. The sympathy of the entire country is with you at this time.
00:13:24I want to thank each and every one so very much more than words are able to say. And I'm hoping that the guilty ones are soon brought to justice.
00:13:34And now, would you mind telling us a little bit about your plans for the near future? Uh, are you, uh, going back to Vogueira or remaining in Milan?
00:13:44I would like to go on working here in Milan, if possible.
00:13:49Of course. I'm sure you'll find many friends in Milan. We wish you the very best of luck.
00:13:53Yes, thanks.
00:13:54Thank you. Stop.
00:13:55Over already?
00:13:56It's over. Thank you. Thank you. And good luck to you.
00:13:57Thank you. Thanks again.
00:13:58Are you tired? A bit. I'm going to the dressing room to change.
00:13:59You'll make a fine actress. You have good timing.
00:14:00Good evening. I didn't see you. Uh, excuse me.
00:14:02Good evening. I didn't see you. Uh, excuse me.
00:14:09Good evening. I didn't see you. Uh, excuse me.
00:14:14You have, I been in the的是 for us.
00:14:16Uh, there are no risks with us.
00:14:17And you have been doing經ys, Mom?
00:14:21After the morning on Sunday night, probablyわか雨 since I've released a night.
00:14:22Not rough, it's going to be trash.
00:14:24But yes, it says, not awful.
00:14:25Notvaccine.
00:14:26It's my only to sort of thing that looks 아니야.
00:14:27But I can't just verify the girl's.
00:14:28But how does her own friends?
00:14:29Some piece of love scheme that I'm all ignored?
00:14:30A Raw man who drives to a
00:14:31These three books Fanatros.
00:14:32Oh, good evening.
00:14:33I have a great day family that he stole.
00:14:34It's got to be family and family.
00:14:35shame at all times.
00:14:37Boy, I see one of the familydioces symbolstone?
00:14:38Oh, especially my father!
00:14:39My dear father!
00:14:40the eyes can be trained. Will you excuse me? You see, I'm so tired. Wait a minute. I haven't
00:14:45been able to forget that day at the beauty parade. You fainted, as I recall. One of
00:14:5320 beautiful models doing a show, and you fainted. You got a tension, a cognac. Did
00:15:02you really faint? Because you fooled me. I... I've been ill, you see. I didn't mean to fool
00:15:11anyone. And then do you know what I thought? I thought this girl's got a future. Please
00:15:17don't say such things. Not really. I don't disapprove. You had a bad experience, and you're exploiting
00:15:23it for all it's worth. I advise you, Lillian. It isn't everyone can manage that. I wish you'd
00:15:30go away. I think you'll be a terrific success. It's a smart operation. And fortunately, you've
00:15:37got me to help you. It's sure to pay off. It's set up to perfection. Don't be upset. We'll
00:15:44get along fine. So long, Lillian.
00:15:53Hello. Hello. I see you missed covering the interview. Where were you? What are you up?
00:15:57Oh, pulled a few wires, kept an inside track. Hi, George. How are you doing? Nice you got here.
00:16:02Salute three. Glad you made it. How'd it go? Very well. Autograph hounds, letters, and telegrams,
00:16:07and a youth delegation. Seems like a good story for you to write. Who? Yes. Describe the
00:16:12surroundings, the incidents that occurred, the people who were there. You mean write the whole thing?
00:16:14Just watch your deadline. Lillian, how are you?
00:16:20Tired? See you later. I have a terrible headache. It's stuffy in here. Would you like to go
00:16:30out for a little while? I think the fresh air would be good. I'd like to. Will you wait
00:16:34while I get my coat? I'll only be a second. Come on. Thank you. How are you, Desiree? How
00:16:41are you? I'm about to steal your daughter away. So long. I'm going with Giorgio. But how can
00:16:47you? I'm leaving. I need to go for a walk now. See you later. Bye, Senora. All right. Bye.
00:16:53Good night. Goodbye.
00:17:12You must be freezing. I'll try to find a camp. No, please, really. I don't feel like going home
00:17:15again. I understand. You haven't had a moment's peace all day long. All those people. I guess
00:17:26it was difficult for you, Anne. Very difficult. Forgive me, I didn't mean to probe like that. Once
00:17:37you get into this business, you're always the journalist. Sorry. You know, you're really
00:17:43such an easy person to speak to. It's perfectly all right. I'm glad that you're not angry with me.
00:17:50And you're not upset.
00:17:55I remember when I first came to Milan, how that noise kept me awake all through the night.
00:17:59A month later, I hardly noticed it. I first remember that sound at school. The trolley turned
00:18:04around just under our classroom window. The teacher would lose his temper because he couldn't make
00:18:08himself hurt over it. What a terrible student I was as a boy. Couldn't get me to read a book.
00:18:17And you studied as a journalist? Oh. There are no courses in journalism. Just something you learn.
00:18:24Didn't you want to be a journalist? But why? You're one of the best around. I wonder what I'd
00:18:31become if I'd been a boy. If I would have been a boy, my father would have insisted that I'd be a lawyer.
00:18:43Because he wanted to be one. My father works as an official in the bank. He's a very respectable man.
00:18:50How petty life is in the provinces. But just try to escape it. You don't know how jealous those people are.
00:19:00The women.
00:19:02But surely you had friends.
00:19:04No. The girls at home were all it is. They were only interested in marriage for the first man who'd come
00:19:10along. I guess that sounds sort of silly.
00:19:15Say. How about something to drink? My journalist's nose tells me there's a place still open around here.
00:19:27How about it? All right. Come on.
00:19:40Thank you, book. I just can't make it. Neither can I.
00:19:43At my age, I should know better than to attempt such things.
00:19:46Oh, at your age. Are you kidding? You're a very young man with an excellent future.
00:19:52What future? Paycheck each month and three meals a day. Oh, we're not of luck to close.
00:19:57I tell you, I come so close to winning that million. You never come close to winning a nickel.
00:20:03And in a way, you wouldn't know what to do with a million even if you did win it.
00:20:07What would you do with it? Are you telling me?
00:20:09Oh, what do you mean?
00:20:10And if you won a million, do you know what you would do with it?
00:20:15Get a medical degree. Well, there's time.
00:20:21I passed pre-med.
00:20:23Ah. Oh, people who talk like this don't really believe what they're saying.
00:20:28Well, you have something you really want to do.
00:20:30You don't wait for a fortune to provide a chance.
00:20:34Well, you've been successful.
00:20:35I'm not happy with my work. It's difficult to explain it to you.
00:20:40You see, I wanted to become a psychiatrist.
00:20:44Instead, I become a mortician.
00:20:45I take care of dead bodies.
00:20:49And I'm so sick of it.
00:20:50Men who kill.
00:20:52And men who get themselves killed.
00:20:55Sorry.
00:20:56I don't usually go on like this.
00:20:59Honestly, I don't.
00:21:00But I'm glad to talk to you.
00:21:03It's wonderful to talk like this.
00:21:06I understand.
00:21:08It's the darkness nobody around to talk with.
00:21:11In a big city like this, it's all alone.
00:21:14And you get nothing without saying.
00:21:21I...
00:21:21How I wish I'd known you before that...
00:21:24You mean it.
00:21:25I mean it.
00:21:31I mean it.
00:21:51I mean it.
00:21:53Will you meet me tomorrow?
00:21:59Please, let's get to know each other better.
00:22:07To hell with the newspaper.
00:22:09What time can I pick you up?
00:22:13We can meet if you like.
00:22:15Only it'll have to be late at night.
00:22:17Because I've been asked to go to this party.
00:22:20A magazine.
00:22:22What magazine?
00:22:23Why go?
00:22:24Look, they're only interested in you for purposes of publicity.
00:22:27Because your name is in all the papers.
00:22:30Listen, at first I was interested in you because of a story.
00:22:32Now I don't want to write a line about it for the paper.
00:22:34I'll say I couldn't find you.
00:22:36Liliane, I want you to get out of the story.
00:22:41I wish I could get out...
00:22:43of the story.
00:22:44I'm sorry.
00:22:51Till tomorrow night then.
00:22:53I wish I could get it.
00:23:06I wish I could get out of the paper.
00:23:11Marisa, I hear the victims in the study.
00:23:27Oh?
00:23:28Hey, I want to see what that girl really looks like.
00:23:31Come on now.
00:23:32All right.
00:23:33Hey, Marisa, where are you going?
00:23:39Sit against the banner.
00:23:40Me too.
00:23:41And you're the only child?
00:23:42Yes.
00:23:43And exactly what does your father do?
00:23:44He's a financial consultant, a very important job.
00:23:56And what can you tell us of your childhood, your life before you came to live in Milan?
00:24:02Uh, well, I'm afraid it's not exciting.
00:24:05I was always a lonely child.
00:24:06I remember we lived in it.
00:24:07It was quite lovely.
00:24:08And from the windows of McCarty for miles around.
00:24:11Anything more?
00:24:12Well, I grew up there.
00:24:15Oh, you've got to give Rossi more than that to work on.
00:24:18Now, how about some facts?
00:24:19It's really interesting.
00:24:20That's the wrong line to take, Rossi.
00:24:23Doleful with morbid facts of a strange and troubled childhood make for good sensationalism, but we need a change.
00:24:30Her story's got to be wholesome and clean.
00:24:32Well-adjusted, ideal girl.
00:24:34It'll be indicative of her character.
00:24:36And I insist that we handle it in this way.
00:24:39A family that's up to date, that doesn't object if the daughter wants to become somebody.
00:24:45Because getting elected, Miss, anything can be very important and it's bound to advance you up the ladder to success.
00:24:51All this reflects a great desire that everybody has to succeed.
00:24:55And needless to say, our readers will eat it up.
00:24:58Do it with dignity, dear Rossi.
00:25:01Keep it clean, understand?
00:25:02And do it as if you were dealing with a life of, say, Princess Grace.
00:25:08How about writing this article in the first person? It would have great appeal.
00:25:15We could have Liliana sign her name to it.
00:25:17But are you sure?
00:25:18And perhaps we can also have her picture of the cover.
00:25:21What do you say?
00:25:22It's all right with me.
00:25:23Come.
00:25:38The presentation will be made tonight by Mr. Rinaldi of Simar.
00:25:45My pleasure.
00:25:47I would like to say that the society I represent has decided to...
00:25:51Ronnie, now all of us have read of the tragic incident that occurred while you were looking for a more reasonable rooming house.
00:26:01Now, the directors of Simar have decided to give you as a gift a wonderful home of your own.
00:26:07Now they are.
00:26:10A marvelous.
00:26:12Here are the keys to this lovely new apartment on one of the most beautiful streets in Milan.
00:26:16There you are.
00:26:21Have the best of luck.
00:26:23Well, everyone's been so helpful and so good that I don't know what to do or what to say.
00:26:31Let me at least give thanks to all of you here.
00:26:36Congratulations, Charlie.
00:26:37Thanks.
00:26:41Let's have some music.
00:26:43Come on, best job.
00:26:49Lucky victim.
00:26:51Si, if this had happened to you.
00:26:53No, thanks.
00:26:54I have an apartment.
00:26:55One moment, just a moment's attention, I beg of you. Please be quiet, won't you?
00:27:09Liliana.
00:27:10What?
00:27:12Liliana, dear.
00:27:13They want you immediately at police headquarters.
00:27:16I'm sorry to distress you this way, only they think they've found the guilty ones. The police commissioner's here.
00:27:20You'll have to go down to headquarters to identify them.
00:27:24Information on the third suspect is as follows. Grimaldi, Mario, lives in Milan, unemployed for two years, formerly a machinist in the fork factory, very often heavily in debt.
00:27:41Suspected of being an alcoholic. Found frequently in bars. Married for five years to Anna of Palermo. In the past few months, he's been reported as arguing constantly with his wife who works as a laundress in Nittar.
00:27:54Here, I'll take that. I suggest that we pick him up immediately. I'll go along with you. If he's learned that we've arrested his friend, he may show resistance.
00:28:05Good evening. Good evening.
00:28:08Well, things are clearing up. We located an empty house in the area where the girls' clothes were found. It's still empty, it fits her description, and he's got the keys.
00:28:18I'm fixing wires. What about it?
00:28:19This other one is a night watchman stationed at the garage near the Porta Venezia. Neither has an alibi. And they've already confessed to a third accomplice.
00:28:26What accomplice? He was a friend of mine. I told you I bought a bottle of wine, so what of it? Then we went and drank it up together. In the park.
00:28:35He was a friend. The rest I don't remember.
00:28:38Drunkard and a cheap, petty thief. Some record. I want...
00:28:41Mario as innocent as we are. I'm sure of that.
00:28:44As a matter of fact, I've arranged to have Miss Ataini come down tonight. Has she arrived?
00:28:49No, not yet.
00:28:50Please, let me have the exact information. Don't worry, sir. We will.
00:28:54All right. Lock them up.
00:28:58Come on.
00:29:00Let's go.
00:29:01Let's go.
00:29:02Let's go.
00:29:03Let's go.
00:29:29Check on all the entrances and records.
00:29:31Let's go.
00:29:32Let's go.
00:29:36Remain here.
00:29:38All set.
00:29:52I'm sorry.
00:29:54Excuse me.
00:30:01where is your husband you can't just search my house why haven't you a warrant what have you got
00:30:14against Mario your husband is seriously indicated in the affair of this young attorney model that
00:30:18all the newspapers are writing about let me give you some advice if you know where he was or what
00:30:23he did last Friday night you'd better tell us Mario never did such a thing I promise you he
00:30:28didn't do it here they are these are the girls shoes now then can you tell me the day your husband brought
00:30:51these shoes home yes he brought them yesterday on Friday Friday no doubt I told you yesterday he say
00:30:57did he tell you just where he found them but I don't know he told me nothing now come he told
00:31:00you enough I didn't I know that you haven't been getting along that you haven't been speaking
00:31:06lately this is useless I can't tell you anything you don't already know what about these shoes
00:31:11your husband brings a thing like this home and you don't have questions
00:31:15how do you know how can you be sure if it's been a month since you've not spoken to each other to be
00:31:22no without drinking and hanging around farms let's do this read her the police report twice he has been
00:31:28picked up by the police for disorderly conduct he has been reported for engaging in several street
00:31:32brawls and fighting in a local bar each time he was with a group of unfavorable suspects he has been
00:31:38warned by the police that if he has picked up a third time on charge of drunken and disorderly conduct
00:31:42he's on the stairs he's getting away
00:31:52hurry men cover the exit
00:32:07leave me alone
00:32:17I didn't do anything
00:32:19I swear I didn't
00:32:20don't you understand
00:32:21leave me alone
00:32:37where do we take him sir put him with the other
00:32:59you're not attendee right we haven't met as yet if you'll allow me I'd like to introduce myself
00:33:10in charge of special investigation sorry to disturb you like this we have all the proof we need but
00:33:17nevertheless we must go through with this formality you see before we can go ahead with the investigation
00:33:23you must uh identify them this way please
00:33:42please come in have a seat won't you
00:33:50uh thank you
00:33:52uh would you like some coffee
00:33:57shall I let them in
00:33:58yes please
00:34:00all right
00:34:01come on
00:34:03miss
00:34:17tell them they're crazy you never saw us before
00:34:20keep it quiet
00:34:21well tell them
00:34:26now why are you standing
00:34:44then what are you staring at do I look familiar to you
00:34:48you must all be crazy
00:34:52that's all get rid of him
00:34:53but you can't say that it was us
00:34:55you know it isn't true
00:34:56you know it isn't true
00:34:58you can't say it was us
00:34:59you can't say it
00:35:00you can't say it
00:35:02there you are
00:35:05can't say it
00:35:06you're not sure
00:35:08look here
00:35:09we have evidence
00:35:10recognize these shoes
00:35:14yes I
00:35:20they were found in grimaldi's apartment under a mattress
00:35:24he says a friend found them near the empty house and then gave the shoes to him for his wife
00:35:28now you know that's a poor excuse doesn't hold up
00:35:31you know that's a good thing
00:35:33anyway
00:35:33you don't have to be afraid
00:35:35just identify them for us
00:35:38I'm trying to tell you that it's simply a formality and you'll be helping us out
00:35:42I should like to go home now
00:35:46you may leave if you wish but don't forget officially your testimony will appear on the record
00:35:54it'll be a very serious matter
00:35:56perhaps you weren't aware of it
00:35:58no no
00:36:00I hope you have another look at them
00:36:03don't forget we're very sure
00:36:04there is all the evidence necessary to condemn them
00:36:06can't you identify them
00:36:10you realize it's something you've got to do
00:36:14I know how difficult it is for you
00:36:16are you afraid Liliana
00:36:19I can appreciate your shock at being confronted with them
00:36:25let's speak about it tomorrow morning
00:36:28now go home and think it over
00:36:31very well
00:36:35good night
00:36:38good night
00:36:44good night
00:37:01Lilliana.
00:37:14Oh, Giorgio.
00:37:16You frightened me.
00:37:17The landlady was kind enough to allow me to come up.
00:37:20I was waiting over an hour.
00:37:22Didn't we have an appointment at midnight?
00:37:24You're right, but you don't know what a day I've had.
00:37:27And then tonight?
00:37:29Then it's true.
00:37:31They've made an arrest?
00:37:37You know about it, then?
00:37:42They were the ones?
00:37:44I don't know. I'm not sure.
00:37:48How do I know?
00:37:49Do they really expect anyone in such a situation
00:37:51to be able to remember anything very clearly?
00:37:55Take it easy, Lilliana.
00:37:57The police must have all the evidence and proof
00:37:58they need to be holding these guys.
00:37:59The testimony you give isn't going to make the decision.
00:38:02They've got to convict these men and they're counting on me to do it.
00:38:05And unless I can identify them, I look ridiculous.
00:38:08People will be laughing at me.
00:38:10I know it.
00:38:11What do you care what people say?
00:38:12Look, no one is expecting you to do anything but tell the truth.
00:38:15So if they're the guilty ones, you say yes.
00:38:17If not, then you must say no.
00:38:18It's simple.
00:38:19Simple, oh sure. Believe me, it's not as simple as you think.
00:38:22And what will the newspaper say about me?
00:38:25I can see it in print underneath my photo tomorrow.
00:38:27It's not important.
00:38:29Lillian, let's face it, in a week this story will be forgotten.
00:38:31So that's how it is.
00:38:38They ooze me as a front page story and when they're through with me, they get rid of me just like that.
00:38:42And you, what about your part in it?
00:38:44If you remember, you put me on the market, the others only followed the example you set.
00:38:48I guess I'm the one to blame.
00:38:50Only...
00:38:51Only I can face the music.
00:38:52I'm the fool.
00:38:53Calm down, Lilliana.
00:38:54You have your future to think about, please.
00:38:57I know.
00:38:58I'm going to have to think about it.
00:38:59Because there's nothing anyone else can do about it except preach.
00:39:01I'm forced to look after myself.
00:39:03Do you imagine after all I've been through, I'm not going to take advantage of this publicity?
00:39:07It's my only chance at success.
00:39:08I've got to.
00:39:26Lilliana, I've been an idiot.
00:39:33That was all you were interested in?
00:39:40Georgiou!
00:39:42Georgiou!
00:39:52Georgiou!
00:39:54Georgiou!
00:39:55My name is a Georgiou, honey.
00:40:25But I'll be glad to keep you company.
00:40:27How about it?
00:40:44Hey, girl, you want to come for a ride?
00:40:46Why are you crying?
00:40:47It's cold out there without a coat on.
00:40:49Why don't you come for a ride?
00:40:50We'll warm you up.
00:40:50Oh, Christ, things come for the back.
00:40:52Come on, honey.
00:40:53Don't be afraid.
00:40:54We'll see you up a little.
00:40:55Yeah, come on.
00:40:56We'll have some fun.
00:40:57Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha.
00:41:00Ha!
00:41:00Ha!
00:41:01Oh, my God.
00:41:31Now, the directors of Simar have decided to give you as a gift a wonderful new home of your own.
00:42:01Oh, my God.
00:42:31It's not true, Anna.
00:42:58Not one word of it is true.
00:43:01I know, Mario.
00:43:06I don't understand it.
00:43:10They keep on insisting.
00:43:13They want an alibi.
00:43:15What do I know?
00:43:19I only know that we were drunk.
00:43:23That the three of us were in the park drinking.
00:43:28I remember at one point we were jumping hurdles.
00:43:32Playing games.
00:43:35I wish I had broken my legs.
00:43:45Listen, Mario.
00:43:47Do you recall talking to anyone?
00:43:50Could anyone have noticed you?
00:43:52You know, an alibi is important.
00:43:54I know it is, but I told you I was drunk.
00:43:56Drunk as a pig.
00:43:58As I recall, there wasn't anybody around.
00:44:01It was freezing out.
00:44:04The streets were deserted.
00:44:12But it's this girl who's driving me out of my mind.
00:44:15I don't understand her.
00:44:17She claims that we're the ones who did it.
00:44:19That she knows us.
00:44:22I never saw her before in my life.
00:44:24To make a mistake like that.
00:44:31But you believe me, Anna.
00:44:32You know it's the truth.
00:44:43I've done things that are wrong and irresponsible, only nothing like this.
00:44:46You know that.
00:44:48You know that.
00:44:54You loved me once, do you remember?
00:45:03I've spoken to a lawyer about it.
00:45:06Have you, Anna?
00:45:06He's a chance, because though you're under arrest, no warrant has been issued.
00:45:12And he said that we must try and get the girl to come face you.
00:45:16But at seeing you again, she might just realize that she's mistaken.
00:45:20And how are you going to pay the lawyer?
00:45:21He's quite willing to let us pay him later.
00:45:30You'll be out in a day or so, Mario.
00:45:33Haven't done anything.
00:45:35They'll find you innocent.
00:45:36They'll release you.
00:45:42There's one promise I can make.
00:45:44The first thing I'm going to do when I get out of here is get myself a job.
00:45:51Sorry, but your time is up.
00:45:55You'll have to go.
00:46:06How's Mariucha?
00:46:09Mariucha.
00:46:11She's all right.
00:46:17Thank you, Anna.
00:46:20Goodbye.
00:46:21Anna.
00:46:26Anna.
00:46:36Oh, Mario.
00:46:51Are you ready, Mr. Tain?
00:47:01Yes, I'm ready.
00:47:05Now.
00:47:08Lean towards the pianist.
00:47:12Smile, eh?
00:47:13Now look towards the camera.
00:47:16Like that.
00:47:17That's very good.
00:47:19Ready to shoot now.
00:47:21That's very good like that.
00:47:23Just turn the bottle so that the label's facing me.
00:47:27That's all right now.
00:47:29Steady.
00:47:30Smile.
00:47:31Hold it.
00:47:33Please don't move now.
00:47:34Steady.
00:47:36Merci.
00:47:40That's very good.
00:47:41We're finished for today.
00:47:42Now be sure and go directly home, all right?
00:47:45Yes.
00:47:46Please turn around for a minute.
00:47:47The photographer's coming to take pictures of you in your new apartment.
00:47:50And that's 12 o'clock short.
00:47:53I noticed the director talking to you.
00:47:55What did he want?
00:47:56Toot monkey.
00:47:57Can't you tell me what you were discussing?
00:47:59Silly.
00:48:00Nothing very interesting, really.
00:48:02He just wanted an exclusive.
00:48:04But I don't advise that you do it.
00:48:05Too many other offers.
00:48:06It seems that no new style can be shown in Milan.
00:48:09And no new products advertised without you.
00:48:10I bet he's willing to pay good money.
00:48:15Listen, Liliana, this is not the time to get yourself tied up.
00:48:18You've got to aim high.
00:48:20Role.
00:48:20A moving picture contract.
00:48:22Leave it to me, will you?
00:48:23Trust me.
00:48:24You need me to guide you.
00:48:25You're a girl with beauty, spirit, imagination.
00:48:29You've got just everything.
00:48:31Everything we need.
00:48:34You mean everything you need, don't you?
00:48:36Coming with me?
00:48:37Now, be a good girl.
00:48:39I'd like to be able to accompany you home, but I can't.
00:48:41I'm looking into this contest.
00:48:43If you get it, it'll be dearly.
00:48:45It's being held in a few days for Mardi Gras.
00:48:48A big occasion.
00:48:49Your coat.
00:48:58I'll see you later.
00:48:59Goodbye now.
00:49:00Goodbye.
00:49:00Goodbye.
00:49:01Goodbye.
00:49:14Listen, what do you think?
00:49:16Can it be ready for tomorrow?
00:49:17I certainly do my best to have it for you, miss.
00:49:19Mr. Tenney.
00:49:36Sorry, but I had to talk to you as soon as I could.
00:49:39You probably know who I am from the pictures in the papers.
00:49:43Please.
00:49:44Wait a second.
00:49:48This isn't easy for me.
00:49:49You must find it strange, too.
00:49:51Only I beg you, please be patient.
00:49:53Because you're the only person who can help me.
00:49:59My husband isn't the kind of man who could have done what you all say he did.
00:50:03It's impossible.
00:50:04I know it isn't so.
00:50:05He's been out of work a long while now.
00:50:07I know he's done foolish things.
00:50:09He gets drunk, but he's no criminal.
00:50:10I want you to know he could not have done a thing like this.
00:50:17So if you'd only see him again, that's all I want you to do.
00:50:21Look at him again.
00:50:22It's not really so much to ask of you.
00:50:25Say that you'd do it, won't you?
00:50:27I know it's possible.
00:50:29That's all I ask.
00:50:30That you see him again and you'll know he's not the man.
00:50:32I tell you, it's no mistake.
00:50:35I can't help it.
00:50:37I'm afraid it's the truth.
00:50:40Believe me, I'm sorry.
00:50:42You've just got to help us.
00:50:44Can't you see someone's life is at stake?
00:50:45The family is ruined.
00:50:46There's a child to think about.
00:50:47Please reconsider.
00:50:48No, I don't want to see anyone ruined.
00:50:50And I don't mean to do anyone an injustice.
00:50:52My husband is innocent.
00:50:53I tell you, I know that.
00:50:54Liliane, such confusion, a fine mess real.
00:50:59I thought they had finished it all.
00:51:01Lucky I brought flowers.
00:51:02There would be something for the photographers to photograph.
00:51:11Please go away now, I beg of you.
00:51:13I'll try and do something for you, for the child.
00:51:16I promise you that.
00:51:17All right.
00:51:17Then see him again.
00:51:19Agreed.
00:51:22Yes, certainly.
00:51:24But go away.
00:51:25Go away now.
00:51:25Please go.
00:51:31It's up to you now.
00:51:37Liliane, you're going to be late if you don't change.
00:51:39Who is that?
00:51:40The new maid?
00:51:42No.
00:51:42Well, it wasn't that the, uh...
00:51:52Thanks.
00:52:06Hello there.
00:52:07Excuse me.
00:52:09Let us pass.
00:52:10Come on.
00:52:12Let us through.
00:52:13Please, let us through.
00:52:14Let us through.
00:52:14If you'll just give me a second.
00:52:28All the things the girl told me the last time she...
00:52:30every newspaper you may look out.
00:52:31What goes into view in her account, not yours.
00:52:38Hello, Stee.
00:52:39Ever since you've been with us, you've written up a lot of good stories.
00:52:42You get ideas.
00:52:44So I would like to be able to go along with you on this.
00:52:47But this time, I'm afraid I can't.
00:52:50Because we have to give our readers the news they want.
00:52:53Now, anything this entertaining girl says is a front-page story.
00:52:57Whether you like it or not, you must see that this interview is important.
00:53:01Let's face it.
00:53:02The public isn't interested in the assault case itself.
00:53:04They're interested in reading a success story.
00:53:06The story of the girl who wanted to make good.
00:53:08It's your invention.
00:53:09To forget about it now would be crazy.
00:53:11Mountain out of a molehill.
00:53:12She's a flash in the pan, I tell you.
00:53:13Well, allow me to point out that this flash in the pan is paying off.
00:53:17And how?
00:53:19Look at all the new ads we've gotten in the ten days since this story started.
00:53:22Huh? See?
00:53:24There isn't an agency that hasn't taken space in our paper.
00:53:27Their ads are filling our pages.
00:53:29Salustri, you can't beat it.
00:53:31The legal elements are of practically no interest to anyone.
00:53:34I'm telling you it's the future of this girl that interests our...
00:53:37You think I'm going to fight it?
00:53:38No.
00:53:39Now, you listen to reason.
00:53:40A newspaper's entire existence depends on what ads are filling its pages.
00:53:45We depend on it.
00:53:47Not many news events increase our circulation two or three stories every year.
00:53:52Let's make the most of it.
00:53:54Hmm?
00:53:56Yeah.
00:53:58Give it only one month, Salustri.
00:53:59Get me that interview.
00:54:01I want it for tomorrow, eh?
00:54:02No.
00:54:04Not for tomorrow, no the day after tomorrow.
00:54:06I'm leaving.
00:54:07You're what?
00:54:08I'm leaving.
00:54:08I'm going to look for another job.
00:54:10You can't be serious.
00:54:12Huh?
00:54:14I tell you what, better get yourself a drink and we'll talk about it some more.
00:54:18You have your life ahead of you, Salustri.
00:54:21You'll be throwing it away if you do this.
00:54:23You know what I mean?
00:54:25It's because I don't want to throw my life away that I'm leaving.
00:54:29Good night.
00:54:34Sir, this just arrived a few seconds ago.
00:54:37Good night.
00:55:07Excuse me, where would I find Anna Grimaldi?
00:55:19I'm a neighbor.
00:55:19You'll find her in the laundry.
00:55:21That way and then to your right.
00:55:37I had her.
00:55:51I never did it.
00:55:51Good night.
00:55:52Go on.
00:55:53Goodbye.
00:55:55Goodbye.
00:55:55Goodbye.
00:55:56Goodbye.
00:55:59Goodbye.
00:56:00Goodbye.
00:56:01Goodbye.
00:56:01Goodbye.
00:56:01Goodbye.
00:56:02Goodbye.
00:56:03Goodbye.
00:56:03Goodbye.
00:56:05Bye-bye.
00:56:05See you next time?
00:56:06Goodbye.
00:56:07Excuse me.
00:56:14It's useless, Anna.
00:56:16It's just useless.
00:56:17Don't say that, Mario.
00:56:18It's not useless.
00:56:19There must be justice.
00:56:20I know someone will help us.
00:56:22And in the meanwhile, you can't give up hope.
00:56:24Please, let's face it.
00:56:26There isn't any hope.
00:56:29I never stopped thinking about you.
00:56:31About you and Mario and how irresponsible I've been.
00:56:33I feel I deserve everything that happened.
00:56:38Please don't say that, Mario.
00:56:39You're a good man.
00:56:40It was so terrible, you see.
00:56:43Not able to earn a nickel.
00:56:46I watched you work beyond your strength.
00:56:51I didn't feel like a man anymore.
00:56:54That's why I gave up like that.
00:56:58And that's where I started to drink.
00:57:00But you're wrong, Mario.
00:57:01You're wrong.
00:57:02I should have stood by you and I didn't.
00:57:04Mario, I don't...
00:57:04I've hurt you so much, Anna.
00:57:08I wish I'd left you with your father in Palermo.
00:57:13It's no use.
00:57:16I'm ashamed to leave you and Mariuccio like this.
00:57:19I don't know what to do, Anna.
00:57:22You're going to be alone for a long time.
00:57:24What are you talking about?
00:57:25Mario, please.
00:57:26You sound as if you'd already been sentenced.
00:57:28That girl will never admit her mistakes.
00:57:31I don't know what's the matter with her.
00:57:33You've seen her, haven't you?
00:57:38What do you think?
00:57:40Is she crazy?
00:57:42No, she doesn't seem to be.
00:57:44I can't imagine what's wrong.
00:57:46She promised to help us.
00:57:50I have an idea that she's been frightened by someone.
00:57:53Do you know what you could do?
00:58:01You might try and go and talk to her family.
00:58:04It may be they'll understand why she's acting like this and would help us.
00:58:08Maybe they could talk to her.
00:58:10Could reason with her.
00:58:10Oh, what's the use?
00:58:13What am I saying?
00:58:14They'll probably refuse to talk to me.
00:58:15They wouldn't dare.
00:58:17They won't refuse to talk to me.
00:58:20You know that I'd insist.
00:58:22You won't stay here.
00:58:23I shouldn't have made that identification.
00:58:29Although here, do you think they'll get it?
00:58:30For Gary Lillian, there are more important things to discuss.
00:58:34At the game yesterday, we did very well, but it's not enough.
00:58:39Now I've got you this rotocalco contest.
00:58:41You know?
00:58:43One of the judges is going to be Sibaldi, the producer.
00:58:45I'll get hundreds of photographs.
00:58:47I tell you, you're sure to get it.
00:58:49We're on the right road.
00:58:51This will do the trick, I guarantee you.
00:58:54That other story, if I were you, I'd forget the whole thing.
00:58:57There's nothing you can do about it anyway.
00:58:58The police needed you to identify him.
00:59:00So you did.
00:59:01But you told me to go ahead and do it.
00:59:03As simply as that.
00:59:04In order to stay on the front page.
00:59:09I hope you'll be satisfied.
00:59:11You have it made.
00:59:12It's convenient to let me pay for it.
00:59:14You walked in after everything was set.
00:59:16But you're not the least bit concerned about what happened before.
00:59:19You're losing your heart.
00:59:21You'd better calm down.
00:59:22You told me to say it was Grimaldi.
00:59:23You told me.
00:59:24Face the fact.
00:59:25You're my accomplice, Aldo.
00:59:32Only it's my testimony that's down in the book.
00:59:34That's it not, Lillian.
00:59:34My testimony, not yours.
00:59:35So you know that it's me they can charge with perjury.
00:59:37They don't know about you.
00:59:38Cut it out, Lillian.
00:59:39Cut it out.
00:59:41Nothing's going to happen to you.
00:59:45There won't be any such charge.
00:59:52As for this Grimaldi.
00:59:54How do we know he wasn't responsible for the other two crimes?
00:59:57Huh?
01:00:01And don't look at me that way.
01:00:03The subject's closed.
01:00:04What's there to be worried about?
01:00:10Such mistakes occur often, I gather.
01:00:13Perhaps.
01:00:15It was Grimaldi.
01:00:16I'm not sure.
01:00:16I remember when I was a child, how alone I used to feel.
01:00:28How different from the others.
01:00:31And today still no one understands me.
01:00:33What do you mean?
01:00:34I imagine success would change that.
01:00:40That people would love and admire me.
01:00:42Now my struggle for success is almost over.
01:00:45And I'm not finding what I want.
01:00:49Almost over.
01:00:50And it seems I'm more alone than ever.
01:01:06Please listen, Commissioner.
01:01:08I beg you.
01:01:09Give me a few more days to help myself.
01:01:10Signora, I beg of you, please.
01:01:11The situation is entirely out of my hands.
01:01:14I would like to be able to help you.
01:01:15I assure you there isn't a thing anyone can do.
01:01:17But it's justice to persecute Mario.
01:01:19Signora, try and calm down.
01:01:20If your husband is really innocent, they won't send him to jail.
01:01:23He's already in prison.
01:01:25And he's treated just like a criminal.
01:01:27At first, the attendee girl wasn't that certain.
01:01:28There isn't any use going on like this.
01:01:30The identification has officially gone on record.
01:01:33If the girl thought she'd made a bad mistake,
01:01:34she had every opportunity to correct it.
01:01:37You must admit your husband's record isn't very good.
01:01:40He's been brought up on other charges.
01:01:42In cafes every night.
01:01:43Engages in barroom fights.
01:01:45He's frequently drunk, spends his time in the worst company.
01:01:47But you know nothing of his fine qualities.
01:01:50Oh, let me at least talk to somebody
01:01:51who's related to the attendee girl.
01:01:53Sorry.
01:01:54I must ask you to forgive me.
01:01:55I am very late.
01:01:57Now do let me reassure you.
01:01:59If what happened is really only a coincidence,
01:02:01if your husband is really and truly innocent,
01:02:04justice will prevail.
01:02:06And stay calm.
01:02:07You have a lawyer.
01:02:09I'm very sure that you can count on him.
01:02:12Goodbye now.
01:02:15Xi'a staat.
01:02:18'll becribed.
01:02:19ыxcf's po اسm
01:02:38Signora.
01:02:39Signora!
01:02:40Excuse me?
01:02:43There's a woman outside, Mario Grimaldi's wife.
01:02:46She's waiting there.
01:02:48We'll have to get rid of her.
01:02:49I tried. She insists on seeing me.
01:02:51I can't talk to her.
01:02:53If she won't go, shall I put her Miss Lillian through?
01:02:55Oh, help me. Let me see.
01:02:58Have her wait. I'll be in shortly.
01:03:00Yes, signora.
01:03:03Please, come in.
01:03:10Here we go.
01:03:16For me, I was just going to get rid of her.
01:03:23I will see her.
01:03:24I told her.
01:03:27It's not going to get rid of her.
01:03:30I really don't understand how you can come here like that.
01:04:00I suppose you must have something terribly important to tell me.
01:04:04Yes, it's important to everyone.
01:04:06But first of all, I'm hoping you'll give me the chance to tell you the whole story.
01:04:09I went to speak about my husband to your daughter in good faith.
01:04:12And after I talked with her, she promised to help us.
01:04:14But instead, she made the identification without even seeing him.
01:04:17Now, how could she do it?
01:04:18Please tell me how she could do it.
01:04:20I tell you, I don't know.
01:04:22It's beyond me.
01:04:24But of course...
01:04:27Of course, there might be a reason, an explanation.
01:04:30She might have something to hide. Somebody might be forcing her to lie.
01:04:33But you're being insulting. Here in my home.
01:04:36It seems the least you might do is offer me some respect for my daughter.
01:04:40I can't see why you came.
01:04:42I'm afraid you've got a lot of nerve talking like that to me.
01:04:44You dare tell me that a girl like my Liliane might have something to hide?
01:04:47She's an honest girl.
01:04:49I have faith in Liliane. She has a good head on her shoulders.
01:04:52If she identified your husband, he's guilty.
01:04:54She won't protect a man who would commit such an act.
01:04:56Yes, I'm proud of everything Liliana does.
01:04:59You know, when she won that contest, I allowed her to go to the city knowing I had to stay behind.
01:05:03You see, I knew she'd succeed.
01:05:05I'm glad I did it, that I allowed her to go.
01:05:07Right, just look. Photographs and articles about her in all the papers. Countless offers.
01:05:12I never imagined there could be such a lot of mail.
01:05:14You see, everyone adores her, even those who were jealous of her at first.
01:05:17I don't think you understand me.
01:05:20I don't mean to insult anyone.
01:05:24Only she's made some mistakes, serious mistakes that have to be corrected.
01:05:27What mistakes? That's merely your private opinion.
01:05:29I've had enough of your insults for today.
01:05:31If you think of nobody like you can wreck Liliana's good career, then you're very much mistaken.
01:05:36No, if you're expecting me to bother her with this story, you're showing no consideration for her.
01:05:40Her career is at stake, everything, so you can't expect her to face such publicity.
01:05:47Good evening, everyone. Ladies and gentlemen, your attention, please.
01:05:49At this time, we take great pleasure in presenting the Woman of the Year contest.
01:06:02And here come the beautiful girls who are competing for the most hoped for, most important title of the year, the Woman of the Year.
01:06:08Here they come driving up the ramp. It's a spectacular evening, celebrities galore.
01:06:13This important event was arranged and organized by the Committee of Milan.
01:06:17And we'd like to welcome everyone who is here tonight participating in this gala affair.
01:06:21As you know, in a little while, our contestants will be judged by a group of men selected by the committee.
01:06:26And because of the prominent and distinguished roles they have in public life, we'd like to welcome them and thank them for being here with us this evening to elect the Woman of the Year.
01:06:36In just a little while now, the contest will begin. We've all been looking forward to this evening with eager anticipation.
01:06:41And very soon now, the most coveted title of the year will have been awarded to the most beautiful, most interesting, most popular Woman of the Year.
01:06:55Excuse me. I'd like to see one of the contestants of the unattended.
01:07:00Look in dressing room two.
01:07:32I gave up my job on the paper. I quit. I'm sure I did the right thing. My editor thinks
01:07:55he's crazy. He can't believe it. I must have been crazy when I think of the years I've
01:08:00lost. It seems I've learned so much since I met you, Lillian. I want you to know that
01:08:13you've helped me a great deal. I feel so serene, so secure. I haven't felt that way in so long.
01:08:30Lillian, if you care for me. Please come with me. Please. Where? Rome. I know of a competition.
01:08:41A chance to work while studying for a degree. After medical school, I'm going to practice.
01:08:46The province is at first. Are you willing to do it, Lillian?
01:08:52Who is it? Oh, sorry. Sorry I have to disturb you. You're number 14. I'm the best of luck
01:08:59to you. It's late, Giorgio. Don't ask me to do it. What are you saying, Lillian? It's not
01:09:06a life for me to be the wife of some doctor in the province. It's not for me, Giorgio.
01:09:09You see, I have a new life to live. But I want to... Lillian, it's fantastic. Looks like
01:09:13you made a hit with the judges. The majority of them noticed you from the first walk on.
01:09:17They're all terribly impressed. It looks like we're going to be very successful. I want
01:09:22all this to make a front page article. Tomorrow, in the morning, first thing, I'm going to send
01:09:25you the photographs. How do you feel? Excited? Good girl. Now, be sure and come right out
01:09:30the minute you've called, because they'll be giving you awards right away. And I have a big
01:09:34surprise for all the other contestants. Don't you come out dressed in that white gown over
01:09:37there, huh? Look here. I'd appreciate if you wouldn't tie our out too much on an interview.
01:09:43It is an interview. Yes. You have much time, you know.
01:09:46Tell me, are you happy like this? Is this what you want? This phony world?
01:09:52Perhaps not, but this is what my whole life is about now. There isn't much I can do.
01:09:57You left me that night, Giorgio. How I wish you'd have come back to me in time.
01:10:02You know how many times I've regretted walking out like that. How often I wanted to return.
01:10:07I love you, Lillian. I'm here now. Give this life out. You have a good chance.
01:10:11Elio, it's too late now. But it's not too late. Please don't talk like that. You must believe me.
01:10:15You've been caught in a web of circumstances, but it's time to get out. There's still time.
01:10:19Lillian, come with me, please. Let me go, Giorgio. I really must get dressed now.
01:10:25No.
01:10:30I'm taking the one o'clock train. Tonight.
01:10:35I'll be in the bar at the station.
01:10:40I'll wait for you.
01:10:41So he started making love to me. What an idiot. I say I'll never forget that incident as long as I live.
01:10:50Of course, you should have seen his fiancée.
01:11:03Gigi, mister. You can stop the orchestra.
01:11:06Shall we start?
01:11:07Yes, they're ready.
01:11:08Attention, ladies and gentlemen. The judges have come to a decision.
01:11:12We'll know who's been elected woman of the year.
01:11:15Will the young ladies participating please all make their way to the stage now?
01:11:23Lillian! Lillian, where have you been all this while?
01:11:27I've been changing my guard.
01:11:28I have an idea you've got it anyway. Sibaldi wants to under contract.
01:11:30Don't forget what I told you. Go on, take it easy, and smile.
01:11:34Ladies and gentlemen, the young lady coming up to the stage now is number 14, Miss Liliana Ateni,
01:11:39already known to you as the model of the day.
01:11:41This young girl you've all known.
01:11:43Bravo! Bravo! Bravo!
01:11:45Bravo! Bravo!
01:11:47Bravo! Bravo!
01:11:49Bravo! Bravo! Bravo!
01:11:53Bravo! Bravo! Bravo!
01:11:55Bravo! Bravo! Bravo! Bravo! Bravo! Bravo!
01:11:59Bravo! Bravo! Bravo! Bravo! Bravo!
01:12:00Faces the winner of the Woman of the year contest, Miss Liliana Ateni.
01:12:03Miss Ateni has been offered a bill contract.
01:12:05She'll be going to Rome shortly and will start working on her first bill within the making
01:12:08three months.
01:12:09Mr. Sobaldi pricks a brilliant career for Miss Ateni and we want to wish her the best of luck.
01:12:14Good luck.
01:12:44what do you want i want the truth and right now
01:13:13you gave me your word you'd help clear the men lilyan naturally you couldn't keep your promise
01:13:19because you were lying you mean you must be crazy you're mad there is much time you better talk
01:13:26come on three men are rotting in jail because of you and i don't think they should stay there
01:13:31another minute to you don't turn away i'm not sure that i understand what made you do it
01:13:41you've sent three men to prison who've done nothing to you you've accused them of horrible
01:13:45things lied minute after minute hour after hour tell me what made you do it tell me lilyan
01:13:52but for this story you'd never have had your success but for this story nobody give you
01:13:57any attention what is it you want to do such a thing you must be sick
01:14:11you made up the whole story
01:14:23you made it up didn't you
01:14:25come on
01:14:37Hey, come on.
01:14:38Make way.
01:14:39Make a little room, please.
01:14:40Come on.
01:14:41Let us through, please.
01:14:42Make a little room.
01:14:43Make a little room, please.
01:14:45Make way.
01:14:46Make way, please.
01:14:47Let us through.
01:14:48Come on.
01:14:49Come on.
01:14:50Make way, please.
01:14:51Let us through.
01:14:52Come on.
01:14:53Hey, come on.
01:14:54Make way.
01:14:55You'll be playing the leading part in a film for which she's about to sign up.
01:14:58I think I would like a special interview on it.
01:15:00What is this?
01:15:01The film will be based on Liliana's own story.
01:15:02I guess I'm much for it.
01:15:03The story of a young girl's struggle for success and recognition.
01:15:06Her faith and courage in the face of life's adversities.
01:15:09And her wonderful victory here tonight.
01:15:11Excuse me, Liliana.
01:15:12The contract.
01:15:13Are you going to sign the ten?
01:15:15Mr. Tenney.
01:15:16Come on.
01:15:17What's the matter?
01:15:18Tell us.
01:15:19Are you going to sign it?
01:15:20Millions of people are waiting for you to make this important decision.
01:15:21What's the matter?
01:15:22Liliana, say something.
01:15:23Don't you realize you're disappointing everybody?
01:15:25Eh?
01:15:30Excuse me.
01:15:31Go on.
01:15:33Yes.
01:15:34I have no right here.
01:15:37A false story.
01:15:38It's all a false story.
01:15:40I invented the whole thing.
01:15:41The whole thing!
01:15:42The whole thing!
01:15:43The whole thing!
01:15:44Liliana!
01:15:45roit's in the hall.
01:15:47a false story.
01:15:48What is it you want now?!
01:15:54Aren't you satisfied yet?!
01:15:57What is it you want now?
01:16:13Aren't you satisfied yet?
01:16:16Enough's been done.
01:16:18And still you're not content, are you?
01:16:27Wait for me.
01:16:41Villian!
01:16:54Why are you running away?
01:16:55You've got to listen.
01:16:57Let me go, let me go, please, let me go.
01:17:00You're being foolish, please, listen.
01:17:02Don't want to listen.
01:17:04Please let me go now.
01:17:05Oh, God, let me die.
01:17:08And that's going to be the final publicity, isn't it?
01:17:14Well,
01:17:16you began your career with a front page
01:17:19and you'll end it with a front page.
01:17:21You started off by being a coward
01:17:23and now you're prepared to do something even worse.
01:17:25Admit it.
01:17:25The only thing you care about is tomorrow's headlines.
01:17:27But no, please, it's not true.
01:17:29It's just that I'm so scared to face what may happen.
01:17:33They'll send me to prison
01:17:34and my mother ain't going to care.
01:17:35The trial will be there so I can't ever go home.
01:17:38It's impossible, impossible.
01:17:39If we face the truth,
01:17:54yes, all of us,
01:18:00then there's still hope, Lillian.
01:18:06the trial will ever be done.
01:18:07The trial will prove which is more timely.
01:18:10And it's fine to go down that act.
01:18:13We'll get out of here at the point.
01:18:14The trial will be made of most other struggles.
01:18:17That one will be done.
01:18:19The trial will be made of mostолетitting,
01:18:21the trial will only get better
01:18:22and let me live there.
01:18:24The trial will be told you how it will catch you.
01:18:26The trial will not be done on it.
01:18:27The trial will not be done.
01:18:28What are you doing?
01:18:30The trial will no matter.
01:18:31The trial will not be done with intervention.
01:18:32The End
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