Telefoni Bianchi

[1] The cinema of Telefoni Bianchi was born from the success of the Italian film comedies of the early 1930s; it was a lighter version, cleansed of any intellectualism or veiled social criticism.

[5][6] The cinema of Telefoni Bianchi was then born from the success of the Italian film comedies of the early 1930s; it was a lighter version, cleansed of any intellectualism or veiled social criticism.

[11] His major interpreter, Vittorio De Sica, will continue his lesson in Maddalena, Zero for Conduct (1940) and Teresa Venerdì (1941), emphasizing above all the direction of the actors and the care for the settings.

Other directors include Mario Mattoli (Schoolgirl Diary, 1941), Jean de Limur (Apparition, 1944) and Max Neufeld (The House of Shame, 1938; A Thousand Lire a Month, 1939).

Soon the subjects began to become repetitive and more and more predictable and banal; later, with the worsening of World War II, the production of this genre became more and more sparse and discontinuous until it disappeared completely with the fall of the Fascist regime (1943).

As well as the enthusiastic, cheerful and carefree atmosphere of these films, it seemed to clash with the gloomy situation of the nation, subjugated by the fascist dictatorship and which would soon enter World War II.

Among the most representative actors and actresses: Caterina Boratto, Assia Noris, Cesco Baseggio, Elsa Merlini, Rossano Brazzi, Clara Calamai, Lilia Silvi, Vera Carmi, Gino Cervi, Valentina Cortese, Vittorio De Sica, Doris Duranti, Luisa Ferida, Fosco Giachetti, Amedeo Nazzari, Alida Valli, Carlo Campanini and Checco Rissone.