Go over there.
It's beautiful! Come on!
Giorgio!
Help! Help!
Help! Somebody's drowning!
Where's Romolo?
He went to City Hall.
To hell with City Hall!
It's a woman.
There she is!
Tino's not here either?
Is she trying to drown herself?
There she is. Go in after her.
Jump! If she gets to the sewer she won't come up again.
A woman's drowning!
You guys head her off. I'll go in after her.
Pascello, run! Come over here!
What are you doing? Not like that! Turn her upside down!
Stefano, hurry up!
Where'd you fish her out?
Careful. Hold her under the stomach.
She was drowning!
She probably slipped. Mario saw her.
She musta slipped and fell in.
- Did she jump off the bridge? - No.
- Did she go under? - Three times.
- At least seven times! - Ten times!
She must have swallowed a lot. We'll need some help. Stefano!
What happened?
- Faster with the arms! - She lost a shoe.
I think she's dead.
Get the water out, before it's too late.
Look how it's rushing out. Move it, kids!
Wesaved her!
Beat it!
Let's get Pompeo. He never seen anyone drown before.
Look.
I don't wanna look. I'm afraid.
Looks dead to me.
Dead bodies don't throw up water.
She opened her eyes!
Put her down.
We'll give her artificial respiration.
She's bleeding.
It's just a scratch.
What she needs is brandy.
Brandy nothing! What she needs is milk.
Quiet! She's coming to. You, with the motorbike, go get some milk.
I'm outta gas.
Take it easy now.
You're all right. You can thank the Holy Father.
You're fine.
Where's Giorgio?
What Giorgio?
Where are you going?
Who's she looking for?
- Wasn't she alone? - Yes.
Who does he think he is?
Take it easy. Come here.
I'm going home. Where are my shoes?
Here. There's only one.
She's got seven souls, like a cat.
See? She can hardly stand up.
Poor thing. She's in bad shape.
You were almost dead.
Leave me alone! Let go of me!
Hey! We're the ones who saved you!
You saved me. Now I wanna go home, okay?
Okay, suit yourself. Go home. Good-bye.
Hi, Cabiria.
You know her?
Sure. She's Cabiria.
Where's she live?
On Via Cecilia.
She lives the life.
Giorgio! Open up! It's me!
It's me! Cabiria!
Wanda!
Wanda! Have you seen Giorgio?
What happened to you?
Mind your own business. Did you see Giorgio?
- Which Giorgio? - My Giorgio.
What happened to you?
What do you want from me?
What do youwant?
I don't want nothing. Mind your own fat ass!
Go inside and dry yourself off.
I don't have the keys.
Where'd you put them?
In my purse.
Where's your purse?
Giorgio's got it.
We took a walk by the river and...
I fell in.
He got scared and ran away.
Cabiria! Open up!
Come on, open up.
I gotta sleep!
Tell me something.
How much did you have in your purse? Answer me.
If you see Giorgio, I'm right here.
What are you doing?
You're right to stay home.
Go to bed and get some sleep.
I'll see you later when I get back.
Why didn't you take your aspirin? Take it, it'll do you good.
You still here? Aren't you tired of yakkin'?
Can't you see I had enough?
Get lost!
Who told you we were friends?
Get lost, will you?
And don't come borrowing my thermometer anymore!
Who's asking you for anything? What a nut!
You're a sweetheart!
Someone would throw you in the river for 40,000 lire?
Drown you for 40,000 lire?
Nowadays they'll do it for 5,000.
Someone who loves you?
What love? You met him a month ago.
You don't know his name or where he lives.
Can't you understand? He pushed you in!
He pushed you in the river!
And you were lucky, because if it had been me...
I'd have held your head under myself! You nut!
Tell the cops!
I'm no stool pigeon!
Take my advice! Report him!
But why? Why'd he do it? I gave him everything.
I gave him everything he wanted. He didn't have to do it.
I'm such a moron.
What if I died?
That's it! The party's over!
We're through! Finished!
Silk shirts! I'll give you silk shirts!
Find another jerk like me!
Look what I bought him! A checked suit!
Camel-hair coat! Never again! Never!
And who's gonna feed you now? St. Peter?
Eternal love!
You dirty vitellone!
Go back to selling balloons!
I'll burn it all!
Chicken soup, veal chops.
You should drop dead!
This is the last time! You'll never see me here again.
This is my last evening. I shouldn't even be seen with you!
Look how classy I am.
You look like Moby Dick to me.
How dare you!
Know where you belong? In the nuthouse!
Use your eyes! Take a good look at me!
Look at me. A grande dame.
She gets worse all the time.
They oughta put her away.
That's how you'll end up!
And that's the heater.
- This car's got everything. - Even Coca-Cola.
- Gimme a ride? - This ain't no tank!
- Get out! - I'm not getting out.
Come on, move!
- Why should I? - I'm taking Wanda for a ride.
You don't know how to drive.
It's my car. I can do what I want with it. Get out.
I'll visit you in the hospital. This I gotta see.
Why not the bigger model?
Another one! What do you know about cars? You're always in the bushes!
You're always on two wheels!
Here comes the psycho again.
- Bye, handsome. - Bye, sweetie.
Remember to come see your princess.
Cute! Real fancy!
Me, I'd have picked a grey one.
It's a fancier color. But this one's cute.
You're gonna kill the battery!
Wanda, get out. I don't wanna fight tonight.
Neither do I, you fanatic.
Still, a Fiat is a Fiat.
With a car, life's a lot different. You sit up there, high up...
and you signal right, left, vroom-vroom.
People think you're well off, a secretary, a daddy's girl.
The men all chase you. It feels great!
- Listen to her! - What?
I know how she got that car!
That cokehead!
Wait!
Stay right here!
- Let me get out! - Stay!
You're dancing, Cabiria?
You're in luck! I'm the best dancer in Rome.
Come on!
Now she found another deadbeat to say "I love you."
One who'll send her off begging.
Get off the street, dear, or I'll have you arrested.
Here I am, gentlemen! Here I am!
Just as well. Who needs you!
Where you going with the car? To the old-age home?
Maybe if you were 20 years younger!
Filthy flea bag!
You're just jealous!
Hear that, Cabiria? She can't get away with that!
Look how you'll end up, you lousy whore!
"Please, be kind. Have a heart!"
"Please, for my Giorgio's sake!"
Do it! Poke her eyes out!
Wanda, here we go again.
Forza, Cabiria!
Never mind her! Hit her low, in the belly!
Don't stop them! It's too much fun!
Stop it before the cops come!
I'll kill her!
Let go of me!
Get her in the car.
Get her away!
- Leave me alone! - Get inside!
I'll punch you a new face!
It's not over yet!
She ruined my face!
Forget about her.
You're scared of me, right?
You lousy loser!
Have a smoke.
Where you wanna go?
To Via Veneto.
Via Veneto? Think you're the Empress Poppea?
Listen, Cabiria, you and me oughta have a talk one of these days.
You're not doing it right.
Who's watching over you?
Look at Marisa and me.
She's safe wherever she goes.
Nobody in Rome would harm a hair on her head.
You know why?
Let me out.
What do you expect to do here?
Girls fight for spots on Via Veneto and Villa Borghese.
Cabiria, why not find yourself a serious man? Respectable, like me.
I don't need one.
- I say you do. - I say I don't!
Why should I slave for filthy pigs like you?
Let's drop it.
Yeah, drop it. Better let me out.
Yeah, it's better.
So long!
Moron! Degenerate! Go take a walk on the Passeggiata Archeologica!
Can't I look?
Know how gorgeous you are?
Get going.
Oh, yeah? We'll I'm staying right here! See?
Sorry.
Are you blind?
Jessie!
Jessie! How can this happen?
Alberto Lazzari!
Jessie, I don't want to get upset.
Jessie, cut it out!
Let go!
Don't make me lose my temper. Come back inside.
Give me the keys.
- Go inside. Don't be stupid. - Don't you touch me, you pig!
Move over. Let me in. Where are you going? Where?
- Do I get the keys or not? - No!
- You're not getting out! - You're hurting me. Let go!
Jessie, dear, listen.
Listen one last time.
- There's no more to say. - I'm tired. You're exhausting!
- Let go! You're ruining my fur. - I bought it!
You louse!
- Wait a second. - What for?
You can go.
Lousy second-rate ham!
Listen,Jessie. If you don't come back, it's over!
Fine! It's over!
Finished! At last! So much the better.
Thanks, thanks,Jessie.
What do you want? Go away!
Hey, you!
I'm talking to you!
Get in.
Who, me?
Yes, you. Hurry up. Get in.
Fast!
Close it.
Get out.
But why?
Come on, get out.
What's it gonna be, Mr. Mustache?
What's going on here?
Get out, get in, get in, get out!
Make up your mind!
Come on. Let's have some fun.
- He said to go in. - So go in.
How are you, sir? How about a table? Tonight's show is exceptional.
Your umbrella, Signora?
Right this way, Signora.
Who's that?
May I help you?
Sit over here. Come on.
Please.
Sit over there.
Alberto! Monica.
What are you up to, Alberto? Are you shooting?
- Yes. - No need to introduce him!
Pleased to meet you.
Yesterday the Americans gave me a screen test.
It turned out fantastic.
I have a 1 6-millimeter print at home if you want to see it.
Ladies and gentlemen, that was part one of our show. Before you dance...
I'd like to salute and applaud an illustrious guest who is...
honoring us with his presence.
Must I applaud too, Alberto?
Okay, boys! Mambo number 26!
Do me a favor, come to our table.
A bunch of my friends would love to meet you.
- Come on, Alberto. - I can't.
I'm with the lady.
Let's dance.
Mambo. The world turns around the mambo.
What a mambo.
Oh, boy! What a mambo!
If you wanna be with your friends, don't mind me.
What?
Don't let me keep you from your friends.
That's enough. Let's go.
Good night, Commendatore.
Get in. Hurry up!
- Did you eat? - No. Well, a little bit around 8:00.
- Let's get some supper. - What?
Let's have supper.
Good. Where are we going?
My house.
Wait! Wait a second! Hey, Fancy Pants!
I'm talking to you!
Look at me!
Look who I'm with! Up yours!
Know who this is?
- Did anyone call? - Nobody, Commendatore.
- What do you mean nobody? - Nobody called.
- Were you awake or sleeping? - Nobody called. I was here.
All right.
Supper for two in my room.
If Miss Jessie calls, I'm asleep. If she insists, I'm asleep.
If she stillinsists, I'm still asleep!
We'll eat upstairs. What's your name?
What?
Come on, move.
What? Another dog?
Look at these!
You got fish too?
Yes. Now, where did I put it?
- Leave it for the maid. - But it'll get wrinkled.
Idiot! What made me do it?
Did you ever see an idiot? Well, you're looking at one.
Just leave it!
Come.
What was your name again?
Where are you from?
What?
- Where do you come from? - From Rome. Piazza Risorgimento.
Sit down. You're making me nervous.
You like it?
Kind of.
It's not really my thing.
It's not my taste, but, yes.
Beethoven's Fifth.
I love it.
Come in.
Leave it there. I'll take care of it. Go.
And close the door.
Let's see what he brought us.
Caviar, lobster.
Help yourself. Eat. I'm not in the mood.
Help yourself. I don't know if you like it.
1 949...
Take that off. It's hot in here.
Guess I tore it.
Where do you live?
Past the gas station.
- Where? - On the road to Ostia.
- You come to Via Veneto? - Via Veneto? Me?
I work the Passeggiata Archeologica. Much more convenient.
Why?
I'm on the Cilia. Subway takes me right there.
There's another girl, my friend Wanda.
She lives there too. But I don't bother with the others.
The others sleep under the arches in Caracalla.
Mind you, I have my own house...
with water, electricity, bottled gas, every convenience. I got everything.
Even a thermometer.
See this one here?
She never, ever slept under an arch.
Well, maybe once.
Or twice.
Of course, my house is...
nothing like this.
But it's enough for me. I like it.
Eat. Eat something.
What's wrong?
Damn it! I know who you are!
I know! Can I say it?
Can I?
Alberto Lazzari! I knew you right away! I saw all your movies.
Very nice!
Which is your favorite?
Well, the last one.
You had a costume with all that stuff, then Vittorio Scraman came...
pushed the door open, "Fermi tutti!"
Then it was his daughter.
That wasn't me.
What do you mean?
You're as good-looking as your house.
Bring the glasses here.
- Champagne. - Sit down.
What's wrong now?
Who's gonna believe this when I tell 'em?
They already think I'm full of it.
I might not believe it myself tomorrow.
You have to do me a favor. Give me a picture...
and write, "Cabiria was here at my house-- Alberto Lazzari."
"Cabiria Ceccarelli was at my house."
Write it just like that.
Now let's eat.
And you eat too.
An olive.
Should I open it?
Chicken! Some chicken breast to chase away the blues.
Here's your plate.
If you want to play more of that music, I'd like it too.
And what's this?
I saw it in a movie once.
- Commendatore. - Yes, Davide.
- It'sSignorina Jessie. - I said, tell her I'm sleeping.
- She's here. - What?
- She's downstairs. -Just don't let her in.
She's already in. She's coming up.
Idiot!
Alberto, open up.
- Who is it? - Don't be stupid! Open up!
So? Open up.
It's very important.
One moment.
- The picture! - Oh, yes. Hurry up!
Alberto, will you open up?
Go in the bathroom a minute.
Yes. I'll get rid of her. Hurry!
I'm not leaving. I'll stay here all night!
- Quiet, don't move. - Open up.
Alberto, please open the door.
Open up, you bastard!
What do you want?
What's on your mind?
I'm tired. I have to be up early tomorrow.
I'm working. You know that, right?
I'm thirsty. Give me a drink.
- What? - I'm thirsty!
Now what?
I can't go on this way!
Well, neither can I!
Your jealousy is morbid, unbearable.
I'm tired of it. I can't take it any more.
Let's call it quits while we're still friends, okay?
No. That's too easy! I'm not going anywhere!
Jessie, don't do this. Get some sleep.
You're tired and I'm falling apart.
We'll call each other tomorrow.
- I know you've stopped loving me. - Who told you that?
You've stopped loving me.
- Admit it. - I'd never say such a thing.
Admit it, and I'll never bother you again.
But I'd be lying.
Even if we saw each other occasionally...
every two or three days, I'd be happy.
Why so seldom? We could be together much more.
- Every day? - Yes, every day.
But stop being so jealous. Is it my fault that women always look at me?
But you're ugly!
How do I get outta here?
Hey, Cabiria. Alberto Lazzari's been lookin' for you!
I'm not even talking to you!
- Don't listen to her. - Who's listening?
Hey, Cabiria, there's Limpy.
There's a winner.
Hey, you old lecher!
Homesick for jail?
Come on, Cabiria, let's have a good laugh.
Why'd you bring him along? Guess a weed never dies.
The Madonna might have mercy on my uncle.
What mercy?
The pilgrims of the Madonna del Divino Amore just went by.
I don't believe that stuff.
- Don't you believe in miracles? - Not me.
Should we go there on Sunday?
We'll all have something to ask for.
You goin', Cabiria?
Me? I don't know. I'll think about it. Besides...
what would I ask for? I've got everything.
I'll even be done with the mortgage soon.
But I might go anyway. I haven't said no.
We'll see.
Think the Madonna would waste a miracle on him?
Funny, huh? The Madonna knows how you made your dough.
Selling coke and pimping women.
I'm going to see the Madonna...
and I know exactly what I'll ask for.
Don't make fun of stuff like that.
You really want to go?
What'll you ask for?
I'm talking to you. What'll you ask for?
Hey, you! Shorty!
Wanna lift?
A shortcut. He calls this a shortcut.
I've been walking an hour.
Who knows where I am?
You live in the caves too?
I've never seen you before.
I've got my own house.
Gorgiano! Gorgiano! It's me. Come up.
How are you doing?
Not so bad, thank you, sir.
And where's Pietro? Sleeping?
They took him to the hospital two days ago.
Said he was in bad shape.
- And, you, what do you need? - Whatever you want, thanks, sir.
Here's a blanket. Is that all right?
What hospital did they take Pietro to?
To the Fratebenefratelli.
All right, I'll visit him if I have time.
Hey, Dark Hair. Who is that guy?
But who is he? With some charity?
Hey, I'm talkin' to you.
Can I help you?
Going back to Rome later?
Can you give me a lift?
Yes, later.
Elsa!
Ah, caro!
I was expecting you Saturday, but you came today!
I was just thinking yesterday, "He comes every nine or ten days.
"He came Wednesday, so he'll show up Saturday!"
Bomba! But I know this one!
Bomba, you live here?
I wish I had everything I used to.
A place in Rome, a place in Ostia.
Showered with gifts! Money in the bank!Jewels! Gold!
I had five kilos of gold!
She's not lying, you know. Now who'd believe it?
But this one in her day--
Here they don't even make me comb my hair.
But if I wear a low-cut blouse...
and the white earrings, then... ha!
Come, come, Elsa. Take this.
Oh! Look at the sweets you brought!
And only for me! None for the others!
Give it to me to hide.
The one with the chocolate!
Pignoli!Look at the pignoli! Like rainfall!
Thank you, caro, thank you!
And when will you be back? When?
God protect you from evil, my son.
Of course...
there's lots of starving people in Rome, eh?
You drive around at night a lot?
Not as much as needed.
How about during the day?
No, in the daytime, the poor wander about.
How would I find them?
Go figure.
Me, I'm out at night too, and I've never met you.
But how'd you get the idea...
the idea of doing this job?
I don't even know myself. Like that. Little by little.
We're here. There's your tram.
Do you live far from here?
About 1 9 kilometers, on the way to Ostia.
What's your name?
Maria Ceccarelli.
Are you alone?
My father and mother died when I was little.
I came to Rome later.
Now go and get some sleep.
So l--
Arrivederci. Go ahead, tell me.
Thank you. Thank you for everything.
Don Vincenzo, the group from Rieti is here.
Get your prickly pears! Fresh prickly pears!
Gimme a hand, Maurizio.
Wanda, get a load of this crowd!
There's the candle guy. Come on, Uncle.
How much for the candles?
Take your pick. I got some for 50, 1 00, 1 50.
The biggest you got.
We'll take two each.
Wanda, the candles! Over here!
Are these all right?
I just want one. I'll pay for it myself. Maybe I'll pay you later.
No, I'll pay for them all.
- What'll I do with it now? - Stupid!
How much altogether?
Make way! Sick man here! Let us through!
So young!
We're over here! Wait for us!
We're gonna get photos!
- Come, Cabiria. They're calling us. - I'm coming.
Where's Wanda?
Wanda, come on!
Marisa!
Get lost!
With that nose you want a photo?
Who's takin' the picture? How much?
Now what do we do?
You need to confess. Down there, where it says confessione.
I already confessed yesterday.
Watch out! He's a cripple!
I'm gonna ask for mercy from the Madonna too. Like you.
What am I asking for?
You don't remember?
I could ask for a villa in Peripli.
That's not what you said!
Don't you remember?
I'll ask for whatever I feel like.
But you said you'd ask--
I changed my mind.
Why are you talking like that?
See? You made my candle go out.
Thirty masses at 1 ,000 each. That's 30,000.
I gave them 35.
Yeah, you did okay. You never know.
How's the act of contrition go? I forgot.
"My Lord, I repent with all my heart."
- Yeah. What's after that? - It's written in the confessional.
Wait here. We can't go in together!
That's enough for now!
Use the other entrance!
Take it easy. Don't push!
I'm sick. I can't help it.
He's sick too. Can't you see that?
Careful, Uncle.
- There's the altar, Uncle. - I can't.
I can't go on. I can't move.
I'll hold you till we're at the altar.
I gotta rest.
Rosie, come here. I think he's gonna pass out.
Try again, Uncle. We're almost there.
Everyone has a secret agony.
Everyone has a wish for You to fulfill.
Open your heart to the suffering, O Holy Virgin!
Mercy, Madonna!
Call out with all your hearts, "Viva Maria!"
- Heal me, Madonna! - Make me well, Madonna!
Wanda, over here!
Stay close. What happens next?
I don't know!
You oughta hear my heart beating. I'm shaking.
I feel so strange, Wanda.
Now all kneel and pray.
Amleto, will the Madonna bestow Her grace on me?
I think so.
Now approach the altar of the Virgin.
Look into Her sweet eyes, and in Her glance, each one of you...
will feel the light of hope turned on in your heart.
Madonna, help me...
to change my life.
Bestow your grace on me too.
Make me change my life.
- Uncle, now! - I'm afraid.
Drop the crutches. She'll have mercy on you.
I'm afraid!
I'm holding you!
Madonna, I'm a sinner.
A worm of the earth.
Have mercy on me, Madonna. Don't leave me!
Lost your tongue? Have a drink.
Careful, Wanda. One glass and she's smashed.
What are you doing?
- I'm thinking. - About what?
- What did she say? - She says she's thinking.
Too much thinking will make your head explode.
Look at those delinquents! Stop with the damn ball!
They're doing it on purpose!
I'll fix 'em!
Next time I'll kick it the other way!
You wanna stay here by yourselves? Uncle and I will leave.Just say so.
- Why should we want to? - What's wrong with you?
- What if we wanted to? - What's the matter, Cabiria?
Hey! Come over here and get your ball!
Come over here if you want it!
Go get her. She can't even walk.
I'm not gonna tangle with her. She'll manage.
This music's boring! Let's rock!
What are you doing, you nut?
We haven't changed.
Nobody's changed!
We're all the same as before, just like the cripple.
What do you want to change, Cabiria?
You think this is the end?
You know what I'm gonna do?
I'm gonna sell the house. Everything. I'm leaving.
Good-bye, you guys. I'm through with all this!
Where'll you go?
Where? Think I'm like you?
I know where I can go. I know.
Just look at those little nuns!
Where you going with that banner?
Looking for snails?
Why'd you make her drink?
I made her drink?
Did the Madonna give you mercy?
Did she?
Cabiria! You wanna get us arrested?
Amleto, look at her!
What?
Bring her back!
Leave me alone! I wanna listen. Go on playing!
Come here, kids! Come enjoy yourselves!
Come dance with us!
Forget about your banner!
Why do you always butt in? Get lost!
Cabiria! You're in no condition for this!
- Leave me alone! - You're blind drunk!
Who's drunk? What do you know?
Is the show any good? Hey! I asked you a question!
You want me to say it stinks?
As you can see, ladies and gentlemen, my assistant's head...
has been completely impaled by the daggers.
There's no doubt that his head must be...
soaked in blood.
You'll be amazed to see, instead, that his head has disappeared!
In the second part of our show, we'll feature...
experiments with magnetism, hypnotism and auto-suggestion.
Would anyone in the audience care to volunteer? Prego, Signori!
I will!
Come right up. Don't be afraid.
There's absolutely no danger.
We now need a representative of the fair sex.
- How about you, Signorina? - Who, me?
Yes, you! Good! Come up. Be brave!
No, I don't want to.
Would you leave those young men up there all alone?
You go, then!
Come on, chickie! We need a laugh.
Wanna laugh?
Just look in the mirror!
Come on, Signorina, don't make us beg.
Should I come and get you?
I'll come and get you.
Don't be afraid. We're all good friends.
They're all tricks.
- Will you come? - Sure! I'm coming.
Think I'm scared?
It's all fixed anyway.
There's no reason to be afraid. You've showed how brave you are.
Come, you'll be fine. Now, let's enjoy ourselves.
Oh, I'm so forgetful! It's really unforgivable!
I completely forgot that Signorina Elvira is still inside.
Oh, this heat! You're hot too, aren't you?
How about a nice boat ride? Does anybody here get seasick?
I was on the Isle of Elba as a kid.
You barely got to Ostia.
Nobody here gets seasick? That's very good.
Ah, here's our boat.
We named her Intrepidbecause she always defies the waves.
Come on, boys. Don't make me beg you.
Signorina, you stay here.
The boat is waiting. The sea is calm, and the weather is fine.
I'm getting out of here!
Where are you going?
Damn, he's good! He zapped him!
Look into my eyes!
Take the oars and start rowing.
The sea is calm, transparent. Feel the breeze.
Enjoy filling your lungs with air saturated with salt and iodine.
Dolphins!
Boy, look at 'em jump!
One of you doesn't feel so good.
Things are looking bad, boys.
It's the open sea now. The waves are swelling.
Hear the wind whistling.
It's a hurricane!
Help! Hold the rudder!
It's every man for himself!
Mamma mia bella! I'm drowning!
- Scared, weren't you? - You'd have been too!
You were plenty scared!
Where are you going?
- You mean me? - Yes.
- Isn't it over? - No.
It's not over. You'd leave me here all alone?
What's he want now?
Signora or signorina?
- Did you have fun watching? - Not really.
I'd like to talk with you a moment. Come here.
- Are you from Rome? - Yeah, I live in Rome.
In what part of town? Colonna? Parioli? Prati?
In Prati.
Come on, be honest with me. Where do you live?
In Borgata San Francesco.
What's so funny?
Don't pay any attention to them. They're just joking.
So, you're not married, but you'd like to be.
Why should I get married?
- I'm no dope. - Who'd marry her!
All girls want to get married.
I know a nice young man who'd be happy to marry you.
Me?
He's rich, handsome, rides a horse and drives a Ferrari.
Let's see if we can arrange it.
What type of work do you do?
She's a countess!
Listen, I'm fine the way I am. I got everything.
And now I'm leaving.
I don't need anything!
That's a fact!
Even better.
So you're rich? With a bank account, houses.
I own the house I live in. Okay?
And now I'll get going.
One moment.
Don't make me look foolish.
At least let me introduce you to the young man, Oscar.
Who the heck is Oscar?
Please step forward.
How elegant you look.
Come here. I'd like to introduce you to the Signorina.
She wanted to meet you too.
A pleasure.
The pleasure is all his, believe me.
Now that you've met, I'll leave you two alone.
This is a beautiful garden, filled with flowers.
You can talk, confide in each other. No one is listening.
Look, Signorina, Oscar is offering his arm.
Come, Signorina, take his arm. There's no harm in that.
But we just met.
You're strolling now. The paths are full of flowers.
The birds are chirping. Oscar dares not speak.
He's shy... sensitive.
Now he says, "Signorina...
"I've been hoping to meet you for such a long time.
"May I ask you a question?
"You're not spoken for, are you?
"There was never a man in your life?
"Ah, I thought so.
"I often see you standing by your window, and at Sunday mass.
"Your eyes are always lowered. You're always with your mother.
"That's good. Picking flowers indicates a gentle soul.
"Signorina, may I hope to see you again?
"Ah, thank you. What did you say your name was?
"Thank you. I'll save this flower like a precious object.
"Would you dance with me?"
Play, Maestro. Oscar and Maria wish to dance.
The orchestra will play a beautiful waltz.
"I'm wealthy, but I'm alone and unhappy.
"What good are fancy cars, long journeys and luxury hotels?
"Smoke! Illusion!
"What I really want is a home, children, and a wife like you."
When I was eighteen, that's when you should have known me!
I had long black hair.
This long.
"For me, you'll always be eighteen."
Then it's true?
You really love me?
Is it really true? You're not trying to fool me?
Do you really love me?
There, there. It's all right.
What happened?
What did you make me do?
Still here? I have to close up.
I'm going! I'm going!
Listen, are those creeps still out there?
Everybody's gone. There's nobody left.
Now get going. I gotta close up.
I'll show them a thing or two!
Pardon me, Signorina.
I'm Donofrio, accountant.
Forgive my boldness.
I don't normally stop young ladies in the street.
I was inside among the audience.
Oh! You were there, watching!
Great show!
I bet you like that stuff!
If I ever see that slimeball again--
Signorina!Please, don't misunderstand me.
I agree with you!
In fact, I sympathize with you.
I came to tell you how moved I was.
We can all pretend to be cynical and scheming.
But when we're faced with purity and innocence...
the cynical mask drops off...
and all that is best in us awakens.
I wanted to thank you. You did me good.
It's gotten chilly, hasn't it?
Excuse me. It's the nighttime humidity.
May I buy you something?
I really don't know you.
Those damn creeps are still there!
Excuse my persistence, but these experiments with magnetism...
are extremely dangerous.
They can cause imbalances and other disturbances.
That'swhy I felt so strange!
Cold, hot, sweaty. Like I had a fever.
How about that!
I would suggest a Fernet. It'll do you good.
Come, we'll sit down.
Just a moment.
Please sit down.
Two Fernet, please.
I swear, I've rarely suffered as I did tonight.
When that charlatan spoke words of love to you in Oscar's name...
and you answered with such modesty and trepidation...
it made me sick.
Something hurt me in here.
I was ill. Really ill.
Hurry up. I'm closing.
Don't be upset.
Some things cannot be touched by human vulgarity.
Even amidst a crowd that laughs idiotically...
there's always someone who understands, who knows.
Someone who appreciates.
But what did I do?
You acted out a very tender and delicate love scene.
I'm still deeply touched.
I can't even express it.
Yes. What struck me most...
is that deep inside, you're as pure as you were at 1 8.
When you went to Mass with your mother...
and had long black hair, falling down to here.
I really said that?
Closing time.
How much?
1 50 lire.
- Thank you. - Hey, you, go sleep at home!
Listen, Signorina.
What happened tonight is extremely important to me.
Just imagine, if you will--
I'm not from around here. I just came here by chance.
I enjoy strolling in the city in sections that I don't know.
I went into that music hall without knowing why.
There's no explanation for what happened. As if guided by fate.
Yes, that's the word: fate!
But who are you?
You sound like you're from Parioli.
What do you mean?
You talk like they do in Parioli. A refined type.
I told you my name is Donofrio. I'm a government employee.
What do you want from me?
You might understand me better after I tell you my first name.
It's Oscar. My name is Oscar.
- Your name's Oscar? - Yes.
So what? Your being Oscar could be a coincidence, no?
Sure. But isn't it strange that the hypnotist chose the name Oscar?
Signorina, I really must see you again. You're waiting for the bus?
Yeah. I'm dead tired. I gotta get to bed.
Do we say good-bye now, never to meet again?
Impossible. I've got to see you again!
The city is vast and we still have so much to say to each other.
When and where can we meet again? Please!
I don't know. I'm busy. I work.
I'm a salesgirl. Anyway, what'll we say to each other?
- What? - What would we say?
There's the bus. So long. Arrivederci.
Please, don't say no. I work too.
Maybe we can meet after work.
Like tomorrow evening. Signorina, wait, how about tomorrow evening?
- In the evening I can't. - Sunday afternoon, then?
Sunday?
Sunday, the Stazione Termini, at 7:00.
I don't know. I feel so strange.
What're you doing?
Hurry. Let's go!
Here I am!
I was over there. Sorry I kept you waiting. I was in the wrong spot.
Thank you for coming here.
You might have thought me annoying, out of line.
It was all so strange...
as if I were dreaming.
I took the liberty, if you'll accept.
Thanks. You didn't have to.
My pleasure. Let's go that way.
He says he likes to talk to me. And he talks and talks.
Boy, does he talk!
The type who reads a lot. Well educated.
Last night we saw a first-run movie at the Metropolitan.
- Hey! That's your third! - They're so good!
I know they're good.
So we saw this first-run movie. A costume picture.
Gladiators, with Christian martyrs.
He explained to me that it wasn't a true story.
It's make-believe, just for the movies, understand?
And then, he told me that...
he gets a kick out of talking to me because...
because I understand him.
He's even good-looking.
Black eyes, brown skin. A northern type.
Then we had pizza at a trattoria.
He always pays.
Even for the flowers.
- Nothing? He wants nothing? - Of course not.
Do me a favor, Cabi!
I'll be meeting him again tomorrow.
What's he after?
How do I know?
And who cares? As long as he pays!
Oh, sure!
The cops! The cops!
What you all need is jail!
Arrest them all!
I'm not running away. If you want me, I'm here!
How are you? How elegant you look today!
How are you feeling?
- Fine, and you? - Thank you. Here. For you.
- Thank you. You shouldn't have. - Don't mention it.
- It's too much. - Take it.
Where shall we go?
Wherever you want.
It's a sunny day.
Let's go to the Aventino.
Your family's not from Rome?
No. I have no family left.
My mother and father died when I was a child.
Loneliness is a heavy burden, but I'd rather be alone...
than make compromises.
We lived in Puglia, in a small village.
The name is unimportant. You wouldn't know it.
I grew up in an old house. I remember the oil lamps.
My father owned a small plot of land. His name was Giovanni.
My mother's name was Elsa, the poor soul.
I like the name Elsa. It's pretty.
I had no brothers or sisters. When my father died...
some ruthless relatives robbed my mother...
of what little property she had, leaving us very poor.
I went looking for work.
What are you doing, my child?
Good day, Father.
Some alms for Sant'Antonio?
Sorry, I've no money on me.
Never mind. Some other time.
What's important is to always be in God's grace.
You arein God's grace, aren't you, my child?
You're not in God's grace?
Why not?
Everyone should be in God's grace.
Whoever lives in God's grace is happy.
I'm in God's grace and I'm happy.
I even went to the Madonna to ask for Her grace.
Maybe you didn't know how to ask, or maybe you didn't need it.
Are you married?
That's bad. Girls should get married and make children.
Matrimony is a sacred thing.
In the grace of God, my child. Ask Sant'Antonio for help.
If you need me, I'm Brother Giovanni.
I'm at the San Francesco Monastery, but I'm hard to find.
I'm always running around.
Hey, Blondie!
So long!
Tomorrow?
Tomorrow I'm busy.
Then the day after tomorrow. Same time.
I'm busy then too.
How come?
I was gonna tell you...
I don't know if I'll keep seeing you.
But, why?
It's not that I'm uncomfortable with you.
But what's the point?
What am I doing with you?
We're both wasting our time.
And doing what?
Anyway, what do you want from me?
If you want...
I'll marry you.
I wanted to ask you before.
But I didn't have the courage. I've wanted to...
ask you since the first time I saw you.
What are you saying?
Marry me?
What are you saying? Marry someone you've seen ten times?
Someone you don't know?
That's not how it's done!
Thank God I'm more honest than some others.
Excuse me, but that's not how it's done!
What do you know about me?
About who I am?
Is this how it's done?
You shouldn't fool somebody this way!
Why pick on me of all people!
Really!
I've asked you no questions, and I don't want to know anything.
Who cares?
Prejudices don't touch me.
Because what matters is...
is that I know your inner self.
We are... we are two lonely creatures.
We have to stick together. I need you.
Don't tell me that.
Don't say that, if it isn't true.
But it is!
What did you do?
What is it, you nut?
I'm getting married, that's what!
He asked me to marry him! We're buying a store in Grotta Ferrata!
He's almost signed the contract.
Without me knowing, he arranged it all: a store, a house!
I'm selling everything! I'll sell the house... the house--
We're getting married in two weeks!
Wanda, I'm leaving!
Does he know that you--
Of course he knows! I told him everything.
I didn't hide anything from him.
But he's a saint. An angel!
He didn't want to know anything. He didn't care.
He loves me! He loves me!
Wanda! He loves me!
Who's there?
May I see Brother Giovanni?
He's not back yet. Why do you want to see him?
- To confess to him. - Go to church for confession.
I want Father Giovanni to hear my confession.
He can't hear your confession. He's not an ordained priest.
I know, but... I'll wait for Father Giovanni.
Fine. Then wait.
Why'd you pack this? I'm not taking that!
Should I take the owl?
Nah, it brings bad luck. But I'll take the seashell.
See if it fits. If it fits, I'll take it.
I sold that. Put it over there.
What a waste! Leaving all this good stuff.
- Here are the dishes. - I sold them. Leave 'em!
Them too?
Why not? I got paid for them.
It would've cost more to move everything.
He sold everything back home. So I'm selling everything too.
We're starting over! Everything new.
Me, I'd have taken all the stuff. Are you forgetting anything?
What could I forget?
- Did you take the money? - Of course! I'm no idiot!
See? You forgot your fur.
Fur? What fur?
- No! I don't want that. - How about giving it to my aunt?
Sure, but hurry! They're waiting to move in!
Damn it! Those lowlifes.
Close the suitcase, will you? Tight.
Oh, la mamma!
Take one more look, and then I'm getting married.
What?
I'm getting married too.
What did I say? Nothing.
How do I look?
Looks good on you.
It cost me 1 ,200 lire.
You got robbed.
You paid too much.
Ah, my pocketbook.
Good-bye, D'Artagnan. Let's get going.
Time to leave. Let's get going.
See them? I can't stand those starving bastards.
Let's go.
Here are the house keys. I'm leaving. Arrivederci.
If you need anything, just tell my friend, Signorina Wanda.
She'll write to me. Arrivederci.
Have a good trip. Good luck!
Thank you. Likewise.
Never mind. I don't wanna say good-bye to anybody.
It's better that way.
I'm so happy now, and then all these people...
they'll ask questions.
Ah! Luciana!
I'm leaving. I'm getting married!
- Send us some wedding candy! - I will!
Say good-bye to Nando and his uncle, and to everyone.
Nice, eh?
They're pretty.
You're getting married...
and I never met this fiancé of yours.
I couldn't bring him where everybody knows me.
Here's the bus.
It's here.
Ciao, Wa'.
Why are you crying?
Who's crying?
Aren't you crying?
I'll write the minute I get there with my address.
And you'll get married too.
Let's go.
Hurry, the suitcase. I'll send my address right away.
Stay out of trouble. You'll...
You'll get a miracle, like me.
- Yeah, sure. - It'll happen.
- What are you doing? - I want to pay.
- But there's no reason. - Please! You've always paid.
Anyway, what's mine is yours now.
It's all the same, isn't it?
Waiter!
It's getting late.
You'll see how beautiful the sunsets are up here.
You want to get me drunk?
It's such a light wine.
The money.
Put it away.
It's my dowry.
350,000 for the house. That's all those crooks would pay.
They knew I was in a hurry, so they took advantage.
Then I got all my money from the bank.
400,000.
See? I made them give me all new bills.
Because you never asked if I had money.
You, you're an angel, a saint!
If you knew what I went through to end up with this money.
I told you, I don't want to know. Please!
Let's get away from here.
The beatings I took.
You see, some guys are just after a girl's money.
You wouldn't believe it.
Everything for love. But not that way.
But what about my old age?
Who worries about my old age?
I'm sorry. I'm sorry.
Waiter, keep the change.
Let's go.
I didn't want to go on like that forever.
I'd have quit if I could, even tomorrow.
I'd have gone away.
To live that way forever? I already owned the house.
Know what me and Wanda planned?
We were gonna rent a newsstand.
Understand? Where are we going?
It's so nice here.
Let's take a little walk. Okay?
I don't even remember how I started.
I was a child, that's all I remember.
And the suitcases?
We'll take them later.
You shoulda seen me at 1 5...
with my long black hair...
down to here.
Who understood anything? My mother just wanted the money.
Where are we going?
I don't know. We're just strolling.
What's the name of that song?
Won't you kiss me?
Come.
I know a shortcut.
Oscar! Where are you?
What a bad boy you are!
Look at these flowers. Like 'em?
They stink, but still.
I never saw flowers like these before.
Let's go.
I'm coming.
Smell them. What kind of flowers are they?
What's wrong? Are you sad?
Me? No. Why?
You stopped singing. Wait a minute.
Why don't we carve our initials on the trees?
Let's go. The sunset is beautiful in the woods.
The sunset, eh? Where do you wanna go?
What a strange light.
Beautiful, isn't it?
I guess there is some justice in the world.
You suffer, you go through hell...
but then happiness comes along for everyone.
You've been my angel.
Your hand is freezing. Are you cold?
Having regrets?
Beautiful, eh?
Look how deep it is!
I'd love a boat ride right now.
Are there any boats down there now?
- Can you swim? - Not me!
I almost drowned once. But they saved me.
Just imagine! I was pushed in!
What's wrong?
What's the matter?
You don't want to kill me, do you?
Answer me!
You want to kill me?
You want to kill me!
Don't just stand there. Say something!
Speak! Don't be like that! Speak!
Tell me.
For... the money?
For the money.
Kill me! Kill me! Throw me off the cliff!
I don't wanna live anymore!
Kill me! Throw me off the cliff!
I don't wanna live anymore!
Go ahead!
Shut up, stupid!
I don't want to hurt you. Can't you see that?
I don't wanna live anymore!
Kill me! Kill me!
Maurizio, hurry up! We're leaving!
We're gonna lose our way going home!
Nights of Cabiria, 188A, take four.
Silence!
Roll!
Mind you, I have my own house...
with water, electricity, bottled gas, every convenience. I got everything.
Even a thermometer.
See this one here? She never, ever slept under an arch.
Well, maybe once... or twice.
Of course, my house is nothing like this.
But it's enough for me. I like it.
This is Cabiria...
a poor, helpless little woman...
who lives amid evil without losing hope in good.
An angel with her wings in the mud...
untiring in her fight to keep alive her faith in men.
Cabiria's story is made up of comical and dramatic adventures...
which she lives simply, her faith in love unwavering.
Go inside!
I don't have the keys.
- Where'd you put them? - In my purse.
Where's your purse?
Giulietta Masina, dubbed by worldwide press "a female Chaplin"...
brings to Cabiria all her strength of expression and compassion.
For the portrayal of this deeply endearing character...
Giulietta Masina received the award for Best Actress...
at the Cannes Film Festival.
Dino De Laurentiis, the brave creator of War and Peace...
brings you this film, the fullest expression...
of Federico Fellini's unique poetic vision.
Nights of Cabiria is a fascinating tale...
where fantasy and reality blend...
in a world alive with compassion.
This is Federico Fellini's masterpiece.
If you want...
I'll marry you.
What are you saying?
Marry me?
What are you saying? Marry someone you've seen ten times?
Someone you don't know?
That's not how it's done!
The strangest adventures, the wildest encounters...
the most unusual characters appear in Nights of Cabiria.
Characters portrayed by the most famous and beloved actors...
Madonna, help me to change my life.
A marvelous performance by Giulietta Masina...
the unforgettable Gelsomina of La Strada...
the first Italian film to ever receive...
the highest award in film: the Oscar, 1957.
I guess there is some justice in the world.
You suffer, you go through hell...
but then happiness comes along for everyone.
I'm getting married, that's what!
He asked me to marry him. We're buying a store in Grotta Ferrata.
He loves me. He loves me!
Dino De Laurentiis took Fellini on...
and it was a good move that he can be very proud of.
After the problems Fellini had...
every time he looked for a producer...
and that continued on long after I left Fellini's crew--
Fellini had terrible problems finding a producer.
You perhaps wouldn't think so, but I saw it...
on the three films on which I worked as assistant.
We were waiting in the production office...
to change producers, and it was not working.
We didn't have a producer. We tried out another one, but that didn't work.
It was amazingly difficult.
In fact, Visconti had the same problems.
It seems to go hand in hand with Italian cinema...
or maybe with the cost of these movies...
because those were very expensive movies...
much more expensive...
than the average ambitious film.
The producer of his previous film, II Bidone...
didn't want to do the film.
I think it was because he didn't believe Giulietta Masina was...
a first-rate actress... which she really wasn't.
She had had a career earlier, she had made films with Rossellini...
small films, small roles with Fellini, but she had never--
She had made La Strada, of course.
La Strada was also Dino De Laurentiis and Ponti, right?
Then there was Lombardo, and then De Laurentiis took him on...
which he felt very good about.
Everything went very well. He would come to the set.
He wasn't at all difficult. He trusted Fellini.
After that, I don't know if they made films together.
De Laurentiis was a sort of false despot.
There was a part of him that resembled Bonaparte or Mussolini.
He had a harsh, anxious expression.
You could almost imagine him putting his hand in his shirt.
It was an image. He was from Naples.
And then there was the whole gang:
his brother, who was much more reserved...
and whom he cast as production manager.
That's the Mediterranean custom. The family had to be there.
He had Silvana Mangano work a lot on his films.
Kind of a family business.
I'm very proud to have made those films.
Silvana Mangano did not make a career out of being a producer's wife.
She made a career out of being a wonderful, marvelous actress.
He had a good instinct in marrying Silvana...
and he had a good instinct in trusting Federico.
He's a great producer and a great man.
François Périer didn't know him.
In Italy at that time there were very few movies...
except for American and Italian films.
There were very few subtitled movies.
The Italians were not yet the great film lovers that we already were.
Fellini was looking for an actor for a coproduction...
with Films Marceau.
They had to have someone from the French cinema involved...
in order for it to qualify as a coproduction.
He asked me, "Which actor should we get?"
I couldn't describe all French actors...
so I went to Unifrance Films in Rome.
I told them, "Mr. Fellini is looking for a French actor.
"Lend me the directory of French actors."
You know, the big directory with pictures of a lot of actors.
Unfortunately, not all the actors are in the directory.
Unifrance told me it was their only copy...
and that I had to return it.
I had to insist in order to get them to lend it to me.
So I brought him the book, and Fellini started to tear out pages...
a dozen pictures of people he didn't know.
There was Pierre Dux, there was Raymond Bussieres...
and there was François Périer.
He hung them up behind his desk.
There was a collage of all the people...
who had sent their pictures...
people from Rome, strangers, women who wanted to be in the movies.
Every time he found a face he liked, he would hang it up.
That didn't mean that person would be in the film...
but when he entered the office it would inspire him.
It created an imaginary landscape, a kind of film before the real film.
He had hung up the picture of François Périer in his gallery.
Then he took a pencil and drew a little moustache on him.
After a few days he asked me, "Who is this François Périer?"
I said, "He's a great actor," and he said, "Really? Very good."
So we hired François Périer just like that, without any problem.
The French coproducers were very happy to cast a star...
and everything went very well with François Périer.
Périer was a leading man who was now getting older...
the nice guy, the average Parisian, but likeable nonetheless...
someone everybody liked, and that was exactly the point.
Périer didn't know he was all those things, but that was the point.
You would see François Périer and you'd trust him...
because you'd think, "Oh, it's François Périer."
Much later in the movie you learn that, on the contrary, he's a total bastard.
It was a great idea, one of Fellini's intuitive visions...
to take somebody who inspired confidence and use him...
to keep up this deception...
with the character, with Cabiria and with the audience.
And it's precisely in that scene in the restaurant--
François Périer was very worried. "I'm still playing a good guy!"
And it kept on like this, and he kept saying:
"When will I get to play the character I'm waiting to play-- the bastard?
"That's what interests me."
So in the restaurant scene there's this close-up, which Fellini never does...
this huge close-up from his forehead to his nose...
in response to Cabiria's questioning look that's saying:
"Are you happy? Is everything all right? We've found happiness, haven't we?"
So there's this close-up of him looking at the bag.
Of course, in this close-up you can see there's something else.
This is writing with the camera.
By giving that importance to a look, you show something else is going on.
Périer was reassured and said, "From this point on, the audience...
"will realize that there is something more to my character...
"that I'm more than this boring suitor who falls in love...
"with this prostitute and wants to save her."
Being Fellini's friend, I immediately became Giulietta Masina's friend also.
She had total confidence in me.
Though the other assistants never showed it, perhaps they were jealous...
of this intruder, this little prince, this newcomer.
I was made to feel very welcome.
I don't know if it was just innate kindness...
or if they wanted to be on good terms with me...
because I had a certain influence.
I was a kind of éminence grise.
But I was accepted in a wonderful way.
Giulietta Masina was a real friend.
Giulietta was perhaps the only person...
with whom Fellini the director would be tough.
Maybe because she was his wife...
he wanted to avoid giving her any special treatment.
I remember two very difficult scenes.
One took place at the villa of the actor Amedeo Nazzari.
Wanting to show off in front of Giulietta...
and seeing she was a simple woman who didn't know much of the world...
he put on a record of Beethoven's Fifth Symphony.
The poor little thing was sitting there on a stool...
having been kidnapped, and uncertain of what was going to happen.
So he puts on the record and says...
"La Quinta," meaning "the Fifth."
That means nothing to her.
Then he says, "Do you like it?"
And Giulietta says...
"Well, that's... something."
Fellini made her repeat this line...
1 2 or 1 5 times in a close-up.
This had the effect of making her more upset with each take.
It wasn't that he's like Bresson. That wasn't Fellini's usual manner.
He just thought, "I'll use her to show that I'm very demanding."
I didn't see any difference between the first take and the fifteenth take.
By the end, she began to cry because she couldn't go on.
She said, "I'm just a little actress. I can't do any better."
So on the sixteenth take, Fellini said, "Okay, that will do."
It happened another time with François Périer...
in the scene where they are...
in a restaurant on a lake...
where he made her repeat a line-- I don't remember which line.
It was very embarrassing, and François didn't know how...
to make it go more smoothly.
This time also...
she just couldn't repeat the same line 1 5 or 20 times...
without him telling her why it wasn't working.
But other than that...
actors always said that to make a film with Fellini...
was a marvelous experience.
We didn't feel like we were working.
We felt like the guests of this great man...
who was inviting us to share a feast.
We didn't know when we were filming and when we weren't.
Such was his skill at putting people at ease. It was wonderful.
Anouk Aimée was so pleased that, after making two films with him...
she refused all other films, saying:
"No, I can't. What if Fellini should call and offer me a small role?
"I would be devastated if I had to turn him down."
He was the ultimate in charm.
He had a nickname, II Faro, which means "the lighthouse."
There was also an atmosphere as if in a royal court.
Everything revolved around him, and he was the choreographer...
of this ballet of courtesans.
But all of this took place without any kind of pettiness...
but with the charm of a royal ballet.
He knew everyone's name, right down to the last extra.
It was incredibly warm and human. Everybody said so.
The great scene that was very important in the film...
was the pilgrimage to the Divino Amore...
that the prostitutes make in order to ask...
that their crippled uncle be cured.
So you have this mixture of prostitutes, of outcasts...
with the faithful, who were very Catholic...
very Italian, and very Roman.
It was a very Felliniesque situation.
So it's in a very sincere way that this mixture of prostitutes...
and pious people goes to Divino Amore.
It was a well-known pilgrimage spot for Romans...
where they sing special songs in honor of the Virgin.
All of this caused a great scandal...
because there were people arriving on a real pilgrimage...
and there was Fellini's staged pilgrimage.
Believe me, it was a mess.
There were some American Catholic women...
who started to scream...
when they saw these women arriving with tons of lipstick...
lots of cleavage, fishnet stockings, and all the rest.
We had to stop the film after half a day...
because they complained to the priest...
who was pretending not to see any of it.
They had probably been paid in exchange for the right to film there.
It caused a terrible scene with the local archbishops.
They stopped the movie. There were a lot of private talks.
I didn't understand very well how they worked everything out.
We asked the local priest...
or maybe it was the priest in charge of the pilgrimage.
We told him, "You've got some real sinners here.
"You're a Catholic, a Christian.
"You're going to try to convert them. You're going to preach a great sermon.
"We're going to film while you go up in the pulpit...
"and preach to these people about sin and redemption...
"about miracles and divine grace."
So we watched and filmed--
I can't remember whether we filmed--
this long scene which is the sermon of this simple priest...
who we were making fun of.
So, thanks to all of that, we were able to keep filming...
thanks to the preacher's sermon.
There are lots of anecdotes because we stayed...
three weeks at the Divino Amore.
It was endless filming, very unpleasant, very tiring.
It took a very long time at the Divino Amore.
Not all the women playing prostitutes were actually prostitutes.
Everybody had a small role.
I came across a picture-- I played a priest.
Here it is. It's funny.
I'm an Italian priest.
If you like, you can have it later.
The scandal at the Divino Amore was not easily resolved.
It was more difficult than what I just told you.
They had to interrupt the movie and have prelates intervene.
I remember we went to see a monsignor, a bishop...
a Cardinal Siri, who later became the cardinal archbishop of Genoa...
a great man, very intelligent, who almost became the pope...
instead of John XXIII.
He was a very important man whom Fellini convinced...
not to prohibit filming in that church.
After all these steps, we were able to film in peace.
As far as the Catholic Church was concerned...
Fellini was not suspect.
There were some problems with La Dolce Vita...
because it was a totally different atmosphere.
But in Nights of Cabiria,...
there is a deep humanity...
in the tradition of Dostoyevsky.
There is a feeling of divine grace and redemption...
and so the film has even been considered a Christian film.
It was regarded in France...
and in Italy, after some hesitation...
as a Catholic film.
Actually, there's a scene that no longer exists...
that they've rediscovered, I think in Paris...
the scene of the man with the sack that we filmed.
I remember it perfectly.
It was a character I hadn't met but who was talked about in Rome...
who was a benefactor who spent his time...
helping the people who lived in vacant lots.
He carried a sack full of food and basic necessities.
That's why he was called "the man with the sack."
Fellini had heard about this man and was impressed.
It was like "Father Pierre" in France...
who had a great reputation for his devotion to the poor.
So he got the idea of portraying this man in the film...
and, once again, instead of hiring an actor...
he asked his editor to play the part...
with whom he was in contact editing the film every day.
He asked Leo Cattozzo, his editor, who was completely surprised...
who had never been in a movie, to play the man with the sack.
At one point he thought about having me play his assistant...
because the man with the sack went around with one or two young men...
who helped him carry the food.
In the end, he played the part alone.
So we filmed in the actual places where the man with the sack worked.
It was on the outskirts of Rome...
where there were vacant lots with natural caves...
where poor, old women lived...
who often were also prostitutes.
So it's those kind of people who played the role...
of those saved by the man with the sack.
So we filmed that scene.
It wasn't a very long scene, but I remember it very well.
And it was included in the film.
I returned to France, and I went down to Cannes for the festival--
I don't remember if it was '57 or '56--
for the world premiere of the film...
and I realized that the scene of the man with the sack was not in it.
Other things were missing too.
Certain changes had been made from the original version.
I didn't worry too much about it.
Fellini told me that by agreement with Dino De Laurentiis--
They were very anxious.
They attached a lot of importance to the Cannes Festival...
which was very intense...
sophisticated and unpredictable.
They didn't want it to be too long, so they cut that scene.
Later I was very surprised to hear people say that it was cut...
because of censorship by the Catholic Church.
I never heard that...
and I don't see how...
the portrayal of a kind man doing charitable work...
could harm the Catholic Church and create a problem.
But we talked about that last year...
when I was interviewed about this new version...
of Nights of Cabiria in the United States...
in which they had reinserted the scene...
of the man with the sack that they rediscovered in Paris.
It all began for me in Venice...
when La Strada was shown at the festival.
I didn't know anything about Fellini, I hadn't seen any of his films...
but my craving for films led me to see...
three or four a day at festivals.
I was in the first row to see La Strada...
because the theater was full.
From the first images, I was stunned by its beauty and poetic density.
Right up to the end of the film...
I felt I was seeing something staggering...
that was going to leave its mark on my life.
I didn't realize that this movie which had excited me so much...
had very much disappointed the audience.
But I was so hypnotized by the images that I felt something was happening...
in the theater, but I didn't know what.
Towards the end of the movie...
I began to hear a long whistling sound...
like a train whistle that carries on and on.
It was people who couldn't stand the film who had begun to whistle.
When the lights came up...
I felt I had been melted down by the emotion.
I turned around and saw the theater was half empty.
I said to myself, "This is a very important day in my life.
"This Mr. Fellini must be very unhappy, wherever he is."
He had to know there was one person...
who had gotten it 1 00 percent.
So I set out to find the filmmaker.
They told me, "It's that gentleman over there."
I left the theater. He was walking quickly.
I saw a tall man, a little stooped over...
and behind him was a little woman who I recognized as being Gelsomina...
that is, Giulietta Masina, in a big dress like a dancer's tutu...
Iooking a little out of style, a little ridiculous.
She was crying heavily, with tears streaming down.
I asked her, "Who is Mr. Fellini?" and she said, "That's him."
I went up to Fellini and asked him, "Do you speak French?"
He said no, rather unpleasantly.
But I insisted, because at that age one is very stubborn and confident.
I told him-- in French all the same, but he understood--
"It's the most beautiful film at the festival...
"perhaps the most beautiful film I've ever seen."
And I left him to his dismay and his distress.
I saw him two days later, and he was feeling a little better.
We talked, and a great understanding connected us.
I won't tell the whole story...
of our friendship that lasted for so long...
but which was also professional, as I was his assistant for five years...
on three films: II Bidone, Nights of Cabiria...
and La Dolce Vita.
It was the same year that Visconti's film Senso was shown.
I was not part of that feud.
Visconti's assistants, Rosi and Zeffirelli--
I don't know if it was instigated by Visconti or by themselves--
had caused a scandal by demonstrating...
their disapproval during the film.
There was a kind of a war, if you will...
between Fellini's assistants and Visconti's.
The feud between Fellini and Visconti went on for a very long time.
When I was Fellini's assistant, I was not to speak about Visconti.
One day I very unwisely mentioned that I had seen Senso...
and that it was a beautiful movie.
He looked at me and said, "You're sick. What's the matter with you?"
I never did it again.
I learned that, upon Visconti's death...
Fellini acted very kindly.
I was happy to see this reconciliation between these two great men.
To get back to my story, I came back to Paris, of course...
and I waited and waited for word from Fellini...
because I had told him, "I want to work in the movies.
"I want to be your assistant."
We always used the informal form for "you" in speaking to each other...
which was not at all the custom of the French at the time...
especially for those of my education, my lifestyle.
I was thrown into a kind of relationship...
that I had never experienced before:
very intimate, very direct and very intense...
very unlike what I experienced in Paris, even with parents and friends.
So I waited for word from Fellini.
One day he sent me a telegram. I had given up on it by then.
Actually, it had started off badly because he first sent me a letter...
saying he couldn't take me because of some laws-- it was a bit of an alibi--
that prohibited using foreigners.
I was very unhappy. A few days later he felt bad about it.
I wrote him a letter that he liked.
It was not at all calculated on my part...
but often sincerity pays greater rewards than scheming.
So I received this telegram here in which he asked me to come.
I don't know if I should read it.
Anyway, he says, "I'm waiting for you. Call me as soon as you arrive."
And so the adventure began. I jumped on a train.
They had started filming eight days earlier.
So I became this assistant without being an assistant...
meaning I didn't really know what he wanted from me.
I spoke Italian very poorly.
The crew saw this little French man...
and wondered what he was doing there.
And I was a little self-conscious as well.
It took a long time to figure out what he wanted from me.
Not a traditional assistant in any sense...
because he already had those, and they were much more efficient than I...
even though I was ready and willing to do anything he wanted to help him.
My presence was more meaningful when French actors arrived...
like François Périer.
For later films there were a lot of French actors, such as Anouk Aimée.
So this was my special role.
But the reason he wanted me around has always been a mystery to me.
Even after his death, I wonder how to explain my Fellini adventure...
because it was unusual to take on this young man.
I didn't consider myself irreplaceable...
but I held for him a kind of superstitious value...
almost like a good-luck charm...
a kind of gift that I was not aware of.
In Nights of Cabiria and II Bidone...
I think there was a range of skills that I brought...
that to me seemed very banal...
but which to him seemed exotic...
because I came from another place...
and I evoked a world that aroused his interest.
This was less important in La Dolce Vita...
which was the last film I did with him...
because the world of La Dolce Vita was very different...
from that of Nights of Cabiria and II Bidone.
If I may take it further, it was perhaps a feeling of spirituality.
It's funny, because when he would do drawings of me...
he would put wings on my back and a halo around my head.
When he had me work on Nights of Cabiria...
he cast me as the priest in the pilgrimage scene.
So I represented for him...
a kind of purity of adolescence...
which he made use of without me realizing it.
Sometimes, at the end of a scene...
he'd turn and look at me to see my expression...
whether I was happy or unhappy.
For me it was beyond my wildest dreams.
I was living a fairy tale.
The fact I had been chosen by this great genius...
me, the little French guy who didn't know anything.
I felt like I had a magic wand, though, of course, I really didn't.
And so it went on for five years.
One day I saw this young man, Pasolini...
arrive on the set.
He was not supposed to be in the first team.
In the beginning, Flaiano and Pinelli...
were Fellini's faithful collaborators...
that I met and became friends with...
and who were helping write the screenplay.
And in this film, Nights of Cabiria...
there was a milieu that neither Fellini, nor I, nor the others...
were familiar with...
the world of prostitution...
that whole world of pimps.
Pasolini had written-- I don't remember the name--
He had not yet made any films--
He had collaborated with some filmmakers--
I Ragazzi di Mala Vita, I think it was.
So he was already known and had a kind of dark reputation.
So Fellini asked him to come and help him.
So I saw this gentleman arrive, this young man...
I witnessed their conversation.
Often conversations with Fellini took place in the car.
When Fellini had something to say to somebody...
often we would go for a drive in the car.
Very often I found myself alone with Fellini in the Roman countryside...
speaking endlessly about life and everything.
This is what happened with Pasolini.
I was sitting in the back seat, not saying anything.
They were discussing what dialogue they would give to the prostitutes...
but especially to the men, because Pasolini hung around with men...
homosexuals, pimps...
bisexuals, androgynous people...
but that's not really in Nights of Cabiria.
So that went just fine. It was an important contribution.
I think they remained on very good terms.
And Pasolini went on to have his own brilliant career...
in his unique style.