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  • Yes, the stories are funny and heart-warming...all three of them. And Sophia Loren ALMOST makes you think she's as mean as the millionairess she portrays, talking of her 'humanity to man' while blowing all other cars off the road, bumping into them at stop signs and screaming at poor Marcello Mastroanni for crashing the Rolls rather than hitting a child. Knowing how long Sophia longed for a child, one felt great sympathy for her as she diapered her many children in order to stay out of jail. Italy had a law similar to the English' of 'pleading her belly' to which Sophia and Marcello conform through the births of seven children. The tale of the young priest, the prostitute and the increasingly frustrated 'client' is very well acted, and you can feel the mounting passion of poor Mastroanni as every act gets interrupted at the worst moment.

    Of course, I love looking at the towns of Naples, Milan and Rome with all the old streets 'unspoiled' by the modernization of today. Check this one out for some excellent acting in widely divergent roles for both Loren and Mastroanni. No wonder the Museum of Fine Arts has Mastroanni festivals....one for Loren is equally called for. They both act with their eyes, their mouths and their entire bodies!!!
  • These three stories very "Italian" indeed, are full of good humour, social observation and correct atmosphere. The direction of De Sica is superb, the acting of Mastroianni and Loren is unique and in the second and third stories we recognize the subtle and superior hand of their author, the great Zavattini. The first story takes place in a very typical popular neighbourhood of Naples where a cigarette pedlar and smuggler (Sofia Loren) discovers that the way of not going to jail for failing to pay a fine, is to get pregnant over and over and giving birth to one child after another with the problems this brings to her exhausted husband (Mastroianni). The second story shows us an aristocratic Milanese rich lady who to escape her boring life gets herself a lover on a social stratum lower to hers and finishes by valuing her Rolls Royce car more than her lover. This is perhaps the not so good of the three stories because it lacks some strength in terms of plot. Finally the third story (maybe the best of the three) is sometimes delirious and hallucinating in its very funny rhythm (Loren's acting is fabulous here) and tells us about a luxury prostitute living near the Piazza Navona in Rome who nevertheless has a soft heart and with whom a neighbour young seminarist falls in love while she plays a game of pull and let go with one of her clients who is anxious to take her to bed most unsuccessfully. This story has a surprising end and a fascinating scene of strip-tease (incomplete of course). You'll have a very amusing time watching this movie.
  • An amusing, verging on wonderful film movie that is unfortunately compromised by the dub; Loren speaks perfect English and Mastroianni - whose beautiful voice is a star turn in itself, knew enough to acquit himself. Instead we get some pretty unconvincing American Speakers.

    Adelina of Naples. This segment of the film is a fictionalized take on true events 10 years earlier. Lauren is the principal breadwinner for her family, selling black market cigarettes and committing other illegal acts to make ends meet. To avoid jail, she merely need remain pregnant which her semi-employed husband Carmine (Mastroianni), is expected to chip in with. The rub however, is that the shoe factory next door has, for several years, kept the poor man awake so that after 8 or so other siblings, he simply is not the race horse he used to be. Chastised by his wife for his weakness, Mastroianni despairs while Adelina (almost) produces number nine with Carmine's best friend; luckily nothing happens.

    Lauren's luck and the appeal processes are eventually exhausted, Adelina does go to a jail that better frankly, than the average Motel 6. Carmine, in the mean time, contacts the press and the Pope, really everyone, and finally, Sophia is sprung. During her internment, Mastroianni apparently recovers his strength and the movie ends with the certainties that he `got his thang back,' and that, at least to 1963 eyes, things in Naples would never change.

    At the time the movie was lauded for its unsubtle criticism of the Catholic Church's birth control policies, policies, which it was reasoned, contributed to high birth rates, poverty, apathy and - laziness of Naples. Arguably the best segment of the movie and by far the longest.

    Anna Of Milan

    The weakest of the three segments, though not without charm. This segment basically has no plot whatsoever. Sophia Lauren is Anna, a rich, bored woman who has married an industrialist and has time and amore to spare, especially as her rich husband travels. A lot.

    Mastroianni plays Renzo ,a writer with a curious haircut and a raincoat, a man appalled by Lauren's focus on money, yet still a man! Come on; we're talking Sophia Lauren..

    One fine Sunday, the pair travel to the country in her new Rolls (this episode is almost a commercial for that particular brand) Renzo passing the time chiding Anna for her materialism in between bouts of desire. Lauren insists that she wants to go somewhere, anywhere to get away from all `this.' Really she insists, she could give up money at any time and as a token of her good faith on this point - allows Mastroianni to drive.

    Eventually, overwhelmed by so much woman and horsepower, Renzo crashes, almost killing a child selling flowers on the roadside. The Rolls' in flames, Anna flips out, her only concern the car, she even insists that use HIS clothes to douse the flames!

    Returned to her senses by the crash, Anna shows through her anger that her true love is the Lira, especially when she rides off into the Milanese sunset with another swinger - a short guy in a Lancia. The Rolls abandoned for repairs on the roadside, Renzo buys some flowers from the almost run-over little flower peddler who asks if it's `really a Rolls?'

    The day's stock results are announced on the Roll's radio as Mastroianni walks bemusedly out of camera, (very effective shot) discarding the flowers on the roadside. While too obvious - `money is the poison of today,' the curious scenery and some fine acting, make this episode enjoyable, if lightweight.

    Mara Of Rome

    This famous episode stars Lauren as Mara, an upscale hooker and is frankly, hilarious and a treat for the eyes. What incredibly beautiful cinematography this episode employs!

    There are two themes in this episode: Mastroianni's `Rusconi,' son of a wealthy industrialist from Bologna is wild about Mara - and the camera by the way is wild about Mastroianni, who is murderously handsome. Unfortunately, something always arises to interrupt his love - especially the second theme, namely: The crush on Mara of her shy young neighbor, a gorgeous young man being sent to a seminary by his tiny little grandparents who seem to want him there for his own good and just maybe, their own finances.

    One comic turn after another arises to prevent Rusconi's union with Mara; on one occasion, hounded on the phone by his Father in Bologna, Rusconi insists, that he is `not an idiot,' and then reminds his Dad that you have to `bribe the minister, first. That's why it is called a bribe.' Showing great capacity as a comic actor on a level with his dramatic turns, Mastroianni really puts the 'S' in star power and is hilariously funny.

    Tired of the `what next?' Mastroianni swears off Mara and says he is leaving forever. In the meantime, the self-righteous Grandma next door accuses Mara of being a common whore and home-wrecker who is ruining her young man and promises to evict her. (In reality, it was the shy young man who made a Roman roof top approach, asking Lauren if she would go to the beach with him; she is non-committal.)

    Enraged by the Grandma, Lauren fires back: How can anyone judge HER - after all, she is very choosy about the men she sleeps with.

    Mastroianni returns - duh! stating that he kept thinking about Mara. Finally the young man's affairs are sorted - (poor Rusconi forced into action as peacekeeper) and neighborly relations, restored. As a reward, Lauren performs a very famous (and rather tame, in fact) strip tease for Rusconi, whose by-now ruined nervous system leads to a series of hilarious faces. About to dish out the REAL reward, however, Lauren recalls she has made a vow of chastity for `just two weeks'.

    This segment, while perhaps overtly addressing hypocrisy (the grandparent's) is in my opinion, really about nothing but fine acting, gorgeous faces and glorious Rome. A great moment in Cinema, and by far my favorite segment.
  • Marcello Mastroianni and Sophia Loren star in three stories about - well, men and women - in "Yesterday, Today, and Tomorrow," a Vittorio de Sica film.

    The stories vary, with the two stars playing roles that show off their different talents. All three of the stories showcase one of Loren's great talents - her awe-inspiring beauty.

    I was lucky to have seen this in Italian with subtitles. The Italian language is so beautiful. I loved hearing it spoken and to see the Italian scenery along with it.

    The first story is about a woman who keeps getting pregnant to avoid going to prison for not paying for furniture she purchased. She ends with 7 kids and a husband so worn out he can barely walk. Meanwhile, with each birth, she becomes more beautiful. It's either the longest story or it went on the longest - it's not the most interesting of the three.

    The second story involves a rich woman with no regard for anyone but herself and her money, even though she talks a different game entirely to her new boyfriend as they're driving. She keeps bumping into people with her car. When she lets the boyfriend drive, he crashes the car rather than a hit a child, and she has a fit. A real nasty piece of work.

    The third story is really the best - Loren is a high-class prostitute who befriends a young man studying for the priesthood. He's staying with his vicious grandmother in the apartment across from hers. The grandmother flings insults at Loren. Meanwhile, one of Loren's steadies, Mastroianni, can't get to first base with her because she's so distracted. This vignette is famous for Loren's hot striptease, which she repeats for Mastroianni again in 1994's "Pret a Porter." Marcello Mastroianni and Sophia Loren are excellent in all of their roles, set against the beauty of the Italian locales. Loren is gorgeous, in fact, beyond gorgeous, particularly in the last sequence. Even today, she manages to dazzle. There's something about her that no American actress can even approximate.

    This film may have been a little overrated in its day, but it is certainly well worth seeing.
  • This very enjoyable film may be a let down for someone expecting the heights of De Sica's Neorealist masterpieces like The Bicycle Thief or Two Women. However it is very funny in parts and is pointedly critical of Italian society in the boom years of the 1960s. Also Sophia Loren and Marcello Mastroianni are absolutely stunning to watch.

    For people interested in Italy it is a fascinating commentary on the country that can border on stereotype. Naples (De Sica's hometown) is warm and happy and filled with clever types ready to outwit the system and find their own way to happiness. Milan is cold, rich, and callous. Rome is dominated by the Catholic church and the State with plenty of hypocrisy and corruption. But De Sica finds some humor in all of this.

    I found it a little too sentimental but well worth watching. I wish a better (undubbed) print were available. De Sica's career was given a boost by the success of the movie and he would continue to make more great films like The Garden of the Finzi-Contini's and the underrated A Brief Vacation that focus on the injustices of the State and the hardships faced by working people.
  • This movie is made up of three separate vignettes starring Sophia Loren and Morcello Mastrianni playing three different couples. Each segment differs greatly as far as their length and quality.

    The first is the longest, and for me, the least interesting. It's about a woman who continues to have baby after baby after baby in order to stay out of prison for a petty crime. Considering she ultimately had 7 kids in the process, the story seems to drag on and on. She could have done it once or twice or even three times, but the skit went on and on with not nearly enough payoff.

    The second is by far the shortest and is about a selfish spoiled rich brat. It's mildly interesting but that's about all.

    The final skit makes the movie. If it weren't for this one, the movie might have been scored a 4 or 5. It's about a prostitute who has turned the head of a young man in training to be a priest. At the same time, Mastriani is a customer who is again and again and again thwarted in his goal of bedding Loren. It may not sound funny based on the description, but it's very entertaining and her striptease is very sexy to say the least!

    My overall impression of the movie is only fair. I think that's because I am a BIG fan of the earlier Neo-Realistic films directed by DeSica. They are almost totally different from this movie--having none of the expensive production values or polished actors. However, they were simply better movies. If you compare UMBERTO D., MIRACLE IN MILAN or any of his other Neo-Realistic films of the 40s, they show the director at the top of his form. Ieri, oggi, domani just looks contrived and ordinary in comparison.
  • Warning: Spoilers
    YESTERDAY, TODAY AND TOMORROW. Three short films about sex starring the two top Italian stars of the day, Sophia Loren and Marcello Mastroianni, and directed by Vittorio De Sica.  In the first part Sophia plays a pregnant woman who may have to go to prison for selling contraband on the street.  However, after speaking to a friend who is a lawyer, she and her husband find that the government cannot send a pregnant woman to prison.  So, Marcello has his work cut out for him as soon as the new baby is born.  Very soon she is pregnant again, then again, and again, seven times in all, and keeping her out of jail the whole time - that is, until Marcello runs out of "gas."  Very charming and funny episode.  In the second episode Marcello is having an affair with married Sophia, playing a completely self serving, rich snob.  Almost the entire film takes place in her Rolls Royce as they head for another sexual escape while the rich husband is away.  That is, until they have a car accident.  The third episode, the most famous, is the story of a high priced call girl, Loren, who is trying to arrange time for her best john, Mastroianni, who also is in love with her.  In the house next door, however, is a young man who is studying to be a bishop and is questioning his path in life, particularly after he watches Loren, in a skimpy lacy outfit, watering her plants on the outside deck.  The boy and his mother, a very self-righteous woman who abhors Loren's character, keep getting in the way of Marcello's time with Sophia.  When things are finally worked out with the boy and his mom, Sophia does her famous strip for Marcello, who is sitting on her bed, bouncing up and down in delight in response to Sophia's every move.  It's a very funny scene, and the episode isn't bad, but of the three, the first one, the pregnant woman story, is the most entertaining.  All three stories had something interesting to say about sex in Italy of that time, in particularly the second story about the rich woman having the affair, but it was the least entertaining of the three.  The thing that was good about all of them was how different the six characters created by Sophia and Marcello were.  Vittorio De Sica's direction was superb.  The music and cinematography added a lot to the wonderful atmosphere, particularly in the first episode.  If you're unfamiliar with Loren's or Mastroianni's Italian output this is a good one to take out for a first spin, especially if you've never seen Sophia in anything other than her Hollywood films.
  • ntimotic1 November 2005
    This is one of the most beautiful comedies I've ever seen, it's simply priceless, three stories are very different but taken together they create one wonderful movie. Sophia and Marcelo in each of three stories give superb acting and each character of this 3 that they play in the movie is different from the other as it can be. I can warmly recommend this movie to anyone who like original comedies and i am sure that you will enjoy as i was.And at the end i can say only that i am sorry because they don't make movies as they use to made. I can compare this movie with some comedies of Billy Wilder or Frank Capra, because on the end of it, you have a warm feeling around your heart and you now that this movie is one of good ways to spend an evening.
  • ItalianGerry8 January 2002
    Two great performers of the Italian screen, Marcello Mastroianni and Sophia Loren, star in this earthy three-episode film, directed by Vittorio De Sica and tailor-made for the two stars. The success of this film led to the making of MARRIAGE, Italian STYLE a year later. In the first of the three comic vignettes Sophia is a black marketeer in Naples who discovers that a pregnant woman cannot be put in jail and so tries to maintain perpetual pregnancy. Poor fatigued husband Mastroianni is barely up to the task, however, and this fact provides much of the humor. The middle episode, the least effective, has Loren as a Milanese rich-bitch of liberal attitudes but who likes to plow into other people's cars. In the last episode Sophia is a Roman prostitute, Mastroianni is her sex-crazed customer. Part of the story is about how she unwittingly almost destroys the vocation of a seminarian living in an apartment across the terrace. Seminarians, surrender!

    Addendum: in 2005 a new DVD release in letterbox format allows us to see the movie in its original wide-screen CinemaScope ratio. It has the original Italian language version with an English-tract option and a subtitle option.
  • utgard1428 August 2014
    Italian anthology comedy starring Sophia Loren and Marcello Mastroianni. It's often cited as one of the best films of both stars. There are three stories involving different couples, each played by Loren and Mastroianni. The first has Sophia as a wife who keeps getting pregnant to avoid a jail sentence. It's an amusing story, although it goes on a little long. The second story is about a rich married woman taking a drive with her lover. The segment is pretty dull as it builds up to its punchline. But I suppose that was the point, to make you thing this was an inane soap opera story about whether this woman will choose fortune or love. The question is answered humorously enough but this is still the weakest story in the film. The third story, and the one for which the movie is probably most famous, has Sophia playing a prostitute. Her neighbor's grandson, about to become a priest, falls for Sophia and she must try to set him back on the right path. But, in doing so, she makes a vow that frustrates lustful client Marcello. Sophia's never looked sexier than here and her striptease is legendary.

    Of the three stories, the last is the most entertaining but none are bad. Sophia is beautiful and enchanting. She and Marcello are both fun in every segment. It's an enjoyable film, though probably much more so if you are a big fan of Italian cinema to begin with.
  • "Yesterday, Today and Tomorrow" was just the kind of crowd-pleasing, feel-good foreign film that appealed to American audiences and the Academy in 1964. It won the Oscar for Best Foreign Film, the second De Sica film to win in that category after "Bicycle Thieves". Of course, this isn't in the same class as that neo-realist masterpiece. It comprised of three short stories, each starring Sophia Loren and Marcello Mastroianni. In the first she is the wife who avoids prison by getting pregnant; in the second she is a rich socialite having an affair with Mastroianni's writer, that is until he crashes her Rolls while in the third she's a Roman prostitute forced into taking a vow of chastity for a week but not beyond doing the striptease that earned the film its reputation for 'sauciness' and each story is named after the character played by Loren. It's all very jolly, sunny and likable but it's hardly Oscar material. Sophia, however, is splendid throughout.
  • Warning: Spoilers
    In my opinion, Vittorio De Sica really lost most of his talent when he met up with Sophia Loren. His films with her always feel like mush compared to his earlier masterpieces, even the much lauded Two Women. Yesterday, Today and Tomorrow is comprised of three short stories, all starring Loren and Marcello Mastroianni. This might be De Sica's worst film if it weren't for the third segment. The first two are really poor. The first, "Adelina" (all three are named after Loren's character), is about a married woman who sells illegal cigarettes on the street. The cops try to arrest her, but cannot since she's pregnant. No pregnant woman can go to jail, and they get six months after the birth, while nursing, before they can be sent, too. The solution? Obviously, keep getting pregnant so they can never send her to jail. Soon, with seven kids, Mastroianni is too tired to keep fathering children. This story is just plain stupid. The second story is so negligible it barely exists. It's called "Anna" and Loren is a rich woman cheating on her husband with Mastroianni. The two of them drive around in a car for a while. Who cares? It's all too bad, too, because "Mara," the third story, is excellent. Not as good as De Sica's masterpieces, but wonderful all the same. Loren is a high class prostitute who gets into an argument with her elderly neighbor after she flirts with her grandson, who is in the seminary. After the argument, the kid decides to quit and the old woman and Loren join forces to convince him to go back. Mastroianni is hilarious as an eager john getting more and more irked that his time with Loren is getting compromised. The whole film is worth sitting through for this, but I'd almost suggest just fast-forwarding to this third part. It also features Loren's infamous striptease. The movie won the Oscar for Best Foreign Film in 1965.
  • Warning: Spoilers
    Wasn't too bad, but wasn't the best either. Sophia Loren is smokin' hot in this, like usual, and particularly the strip tease at the end. Little disappointed they stopped some of the tease, such as going from mostly covered down to bra without showing the clothes coming off. I could imagine how Marcello's character is losing his mind watching this. Overall, I'd have to agree that the second vignette was the weakest, and also happened to be the shortest.

    My biggest issue is the DVD print I watched. I don't know if there's a new edition out, but an academy award winning film should at least be seen in letterbox format, instead of what looks like a poor quality VHS transfer.
  • gavin694219 September 2015
    Three different stories of Italian social mores are presented. In "Adelina", unemployed Carmine Sbaratti and his wife Adelina Sbaratti survive through Adelina selling black market cigarettes on the street. They are unable to pay for the furniture they bought (which is under Adelina's name), but are able to avoid the bailiff when he comes for the money or to repossess.

    Italian films of the 1960s... the stories were good, the colors were interesting (often their films had a much lower budget than the American films of the same time). What really stands out is how much the films were used to show Rome, Naples and other cities. The Italian film industry of the 1960s was like a constant tourism campaign. Was this intentional? I do not know. But I suppose if you have some of the most beautiful cities in the world, you may as well flaunt them.
  • Sophia Loren and Marcello Mastroianni, they were a wonderful, magnificent couple, perhaps the greatest pair of actors in the history of the cinema. They are both super-charming and very different (chameleonic) in these 3 different episodes. Very beautiful Sophia, the most beautiful of all her other films. Vittorio De Sica, one of the greatest film directors ever, a very gifted artist, he knew life so well, like nobody else, and he knew those special secrets to translate true life, with joy, humor and sadness, on screen, a great conductor of actors.
  • For starters - I cannot begin to describe to you my initial shock and overwhelming disbelief to find out that this decidedly mediocre, Italian, 3-In-1 passion play (from 1964) actually won an Oscar for "Best Foreign Film".

    Not only were the 3 mini-stories combined in this 2-hour film all totally forced and annoyingly contrived situations - But the English dubbing was so atrociously amateur that it was downright irritating (and there was no option given to the viewer for the relief of subtitles).

    Clumsily directed by Italian film-maker, Vittorio De Sica - This "adult" drama (with its weak attempts at comedy thrown in for good measure) was set in the city of Naples, Italy - And I couldn't believe what a grubby, rundown eyesore that this metropolis looked like through the lens of De Sica's camera.

    All-in-all - (IMO) - This 50+ year-old picture was far from being an Oscar-winner.
  • Oscar-winning Italian film from Vittorio De Sica, wildly overrated in its day, now a faded piece of fluff. Three portraits of Italian womanhood, each featuring Sophia Loren in the lead: Adelina is a saleswoman on the black market who dodges the police through pregnancy (they can't lock her up if she's with child), resulting in seven bambinos and bambinas; Anna is the wealthy wife of an industrialist at an impasse with her frustrated lover; Mara is a prostitute who becomes involved in the troubles of her neighbors, which frustrates her horny client waiting in the bedroom. Marcello Mastroianni plays the men in Loren's lives, however the expected sparks between the two charismatic stars fail to arrive (this seems a perfunctory screen-combination). Giuseppe Rotunno's cinematography is especially pretty in the third chapter (by far the best of the lot), and Armando Trovajoli has composed a nice background score; otherwise, a surprisingly unfunny tease, with more shouting than lovemaking. ** from ****
  • The film consists of 3 vignettes all of them cartoon feel good renditions of Italy. Clichéd syrupy stuff that is supposed to be humorous but the film is not funny. Hollywood (and others) cranked out tons of this s*#t!

    The first is the worst... Loren keeps out of jail by having more and more kids.

    The second is interesting only because Loren looks good and has a great car.

    The third is the longest...Loren is a hooker.

    All 3 are simple minded fluff...yes the acting is decent--1 extra star.

    This film is tremendously overrated... it is the sort of film you feel you have to convince yourself to like as it is known and reeks of good nature and comedy?.
  • gbill-7487729 November 2017
    There is such a delightful playfulness to this trio of tales about relationships between men and women in Italy. Sophia Loren is in three different roles – a poor mother in Naples who keeps getting pregnant and having children to postpone being jailed for failing to pay debts on her furniture, a rich woman in Naples who has had a one-night stand while her husband is away at a conference and has picked him up the following day in her Rolls-Royce, and a high-class courtesan who does business out of her apartment overlooking Piazza Navone in Rome, attracting the attention of a young man studying to be a priest. I wouldn't say Loren has exceptional range, but she does turn in a solid performance, and plays feisty, haughty, seductive, angry, and bemused pretty well, all while being quite entertaining. Marcello Mastroianni is her counterpart in each tale (one of the clients in the last, not the young man), and is similarly engaging. It was nice to see him so light on his feet as he moved around in that last tale; his expressions were over-the-top (in a good way), and it was funny to see him ask Loren to dress up as a schoolgirl, and then watch her reaction.

    The movie feels quintessentially Italian, as the characters are animated and highly expressive. There is also a feeling of genuine humanity and community. There is an honesty here, as each of the stories quite openly acknowledges sexual urges in both men and women as being natural and a positive thing, which is quite refreshing. At the same time, it remains decent and acknowledges a sense of higher morality. In the first tale, Loren's character is tempted but does not sleep with her brother-in-law when her husband can't get her pregnant again, accepts going to jail, and talks to the prisoners there without an ounce of judgment about why they're there. In the second, Mastroianni's character realizes how shallow Loren's is when she's more concerned about damage to her car after they nearly run over a child. In the third, Loren's character realizes that despite an antagonistic relationship with the young man's grandmother (played fantastically by Tina Pica), she has common ground with her, and must persuade the boy to stay on his path. How nice it is that director Vittorio De Sica shows us that these things – lust and morality – can exist side by side, perfectly well.
  • YESTERDAY, TODAY AND TOMORROW is a romantic comedy, which consists of three stories set in different parts of Italy. All three stories are framed in a romantic farce, which examines relationships through common life issues, such as poverty, adultery, sex and religion.

    Stories about three very different women and the men they attract.

    Adelina sells black-market cigarettes in Naples. Her husband is unemployed. She tries to avoid a jail sentence at any cost.

    In Milan, Anna drives a Rolls, is bored, and picks up a writer, who is her lover. She talks dreamily of running off with him until he dents her car. After that, she shows her true face.

    Mara, who works as a prostitute from her apartment in Rome, turns the head of a naive seminarian. After talking with his grandmother, she wants to help a young man, while her nervous client from Bologna impatiently waiting.

    A male protagonist is exposed to tragicomic sobering, while a female protagonist is in a kind of inner conflicts, in each of the three stories. That's the point. The different characters of people are exposed to very strange situations, through which they question their relationships.

    The scenery is very impressive, especially in the first story. That Neapolitan atmosphere in explosion of colors in a narrow streets is truly remarkable. The dialogues are, here and there, trivial and empty. Humor is somewhat forced, but it's pretty luscious. Characterization is not bad at all.

    Sophia Loren (Adelina Sbaratti, Anna Molteni and Mara) is a temperamental and brave housewife, an elegant and selfish rich woman and a sensitive prostitute who would talk about morality. Yes, Ms. Loren looks divine in each of these women.

    Marcello Mastroianni (Carmine Sbaratti, Renzo and Augusto Rusconi) is a fertile, but useless husband, a cautious lover and an impatient client, who can not accept the fact that he's in love with a beautiful prostitute. Mr. Mastroianni is mostly a muddled and confused character in each of the three stories.

    I will say that this is another successful commedia all'italiana
  • Sophia Loren is wonderful in this collection of tales. There was only one of the three that I truly liked the other two annoyed me and were boringly stupid. The one Iiked was the last tale that you see. If I were you I'd just fast foward to the last one and skip the first and do something better with your time.
  • I do remember Sophia's striptease, She never appealed to me. Looks or talent, a big Zero. But that scene was sexy as heck, and she looked darn good. Significantly, it's the only semi-nude she ever did. Maybe she shoulda shed 'em on a more regular basis. Anything woulda helped Two Women. Putrid. Mastroianni was a fine actor, always watchable. But he sure was in his share of major league Crapola. This one's a nice little movie, but what the devil was 8 1/2 all about? Terrible.
  • JEFJR24 September 2017
    The review here by the commenter known as Acerf is certainly long and informative, but he seems to be the only person in this world that doesn't know Sophia's last name is LOREN, not LAUREN. She is only one of the most famous actresses in the WORLD, so I'm not sure how Acerf has missed this little detail. It's not a typo, because the misspelling is done every time.
  • at the first sigh, good pretext to admire Loren and Matroianni. the chemistry between themes, the dialogues, the humor, the seductive manner to act together. in fact, it is only one of the charming Mediteranean story, mixing characters and stereotypes, jokes and crazy solutions, a memorable scene and the art of de Sica to explore small aspects of every day reality - the crown of children in Adelina, the grandparents in Mara, the cold and superficial Anna. and this is one of the basic sources of its success. to be the film of ordinaries situation for every day life. for preserve the air of a lost world. for be a simple comedy with two extraordinary actors. and it is enough.
  • Warning: Spoilers
    {{{ Fandor.com has this film available for online viewing in a version tat has none of the technical problems cited in other reviews here about this film.}}}

    Vittorio Di Sica's Yesterday, Today, And Tomorrow (1963), starring Marcello Mastroianni and Sophia Loren is a very entertaining and artistic film. This is a three segment film, with each segment telling a story about a completely different romantically involved couple, and with very different circumstances in each story. The romantic couple in each story, each segment, is portrayed by Mastroianni and Loren.

    The acting performances by Mastroianni and Loren in this film as a whole are outstanding. Each segment of this film, being such a different type story from the others, required them to veritably assume a different personality in each segment. Both Mastroianni and Loren did so very convincingly. This film, and its three divergent story lines, required a real chemistry between these two heavyweights of Italian cinema, which they apparently have. It is really amazing to watch these two fine actors in this film act in unison in each segment, acting as though the persona of the character in each individual segment was conceived and written just for them.

    There is no deep "meaning" or esoteric symbolism in this film. It is just great storytelling at its best. "Just spinning a good yarn" times three. Yet, Di sico's excellent direction, and the excellent performances by both Mastroianni and Loren, brings some difficult to comprehend type of cohesion to these three divergent stories, as if each segment was just a part of a comprehensive whole story. I would suppose that this "comprehensive whole story" might just be called "the story of life". Each divergent story segment is a little "slice of life", somehow fitting into the larger "slice of life" that is the whole film.

    This film has great artistic merit in that it convincingly portrays, and even celebrates in a way, the very "stuff of life", of everyday life, of your life and mine. This is an artistic film inasmuch it successfully portrays the relentless and indomitable spirit of life, of mundane and ordinary everyday life.
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