(out of 5)
The odd political conversation between scenes of overripe romance remind one that this is the work of one of the architects of neo-realism, Roberto Rossellini. The rest of the time you’re awash in a dull love affair in one of the filmmaker’s least interesting films, as princess Sandra Milo finds herself madly in love with a “freemason” rebel (Laurent Terzieff), one of the legions of fighters whose idealistic vision of a unified Italy would lead to the risorgimento. Milo is torn between her devotion to her class and her burning passion for the handsome stud, who makes her so crazy that she eventually goes out of her way to keep him and, in doing so, causes more harm than good. Produced on a giant scale with wonderfully plush sets and glittering costumes, the film’s pace is wooden and the dialogue tends to drone on, particularly when delivered by a shockingly dull Terzieff as the male lead. Milo is pure passion, poised and lovely in every scene and every inch the opposite of the fiery sex goddesses she portrayed in her famous Fellini roles, but her character barely jumps off the screen and all her efforts are lost in the shuffle.
Zebra Films, Orsay Films
Directed by Roberto Rossellini
Cinematography by Luciano Trasatti
Produced by Moris Ergas
Music by Renzo Rossellini
Production Design by Luigi Scaccianoce