1) Renzo and Lucia plan to marry but the local baron, Don Rodrigo, wants Lucia for himself and forces the priest to postpone the marriage. 2) Lucia seeks help from Friar Cristoforo who confronts Don Rodrigo but is unable to change his mind. 3) To escape Don Rodrigo's threats, Renzo, Lucia and Agnese flee their village with help from Friar Cristoforo and take refuge elsewhere.

1. Marriage in literature and art
Opera in fairy tale,
Le nozze di Figaro
There was once a barber named furbacchione of Figaro. What workshop held in Seville, and if
passed at large, at the expense of nobles and wealthy bourgeois and did not have a master in the
world. What has made you ask, after the wedding of Count Almaviva with the beautiful Rosina?
Our Figaro had sold his freedom in exchange for a fixed salary It was placed at the service of the
count and have followed in his magnificent castle.
Since then many years had passed el'ex barber thought it was time to finally put his head in place: in
short, had decided to take his wife. And who better than the maid of Rosina woman could do on his
case, if such a waitress was young, beautiful and full of spirit? Pure adopted his name grace and
gracefulness: Susanna Susannetta or so to call it. The wedding was ready and not seeing sposi time,
but there was a but.
As it happens, Mr. Count, who had not lost the habit of correr behind the gonnelle provided were
young and pretty, had put their eyes on Susanna. It invented excuses to postpone the marriage, once
one thing, once the other, so the head was him. But Figaro that under the livery remained the same
old fox gliel'avrebbe made do with the lanternino Susanna, and meanwhile, slept with one eye only.
So far, we could also peace of mind, were it not that our hero had other enemies of the castle: Don
Bartolo for example, an old, who had with him since the time of Seville, and not tell me that you ve
lo so why not forget the story more; Don Bartolo, said, was well placed in the count's house and
now plot against Figaro with the housekeeper Marcellina, a tipa no longer very young who would
like to take the place of Susanna. Then there was Don Basilio, the music teacher, who was willing
to take in four for anyone to show gratitude astounding and Susanna hum around the devil as a
tempter: what are you to do this with you when you make poveraccio Mrs. girartene and carriage,
and on like this every day the same sulfo that Susanna no longer.
On Don Bartolo and Don Basilio we all agree, you already know, but what is this story of
Marcellina, where Costea Tick? All right, the tipa was an old servant of Don Bartolo who had
followed the current adjusting well to her castle and was given a beautiful cleaned by making
Furbo, a po 'here, a little' there, we understood, and the missing right to marry to become
respectable and have good thought: Figaro to wrest a promise of marriage unless the ridava the
money they had lent. The old Brava! Figaro, however, is not giving much thought, but you should.
Rosina And I wonder, what was, it was quiet? Alas, although you could still call it the beautiful
Rosina, a few too many el'incostanza wrinkle of a husband used to prefer the novelty were the
difference. In fact, while the count spent his days running from room to room with the intent to

2. surprise alone Susanna, although she had her petty daffare to escape so on and so on, the poor
countess was always in front of a mirror that is trying the clothes, put a path others, and changed
wigs and posticci and if the husband had skipped the ticchio to enter his room. But what ever you
did see once, when a party had to check the accounts.
Fortunately, that hold it on laps there was a tipetto not bad, the grandson of a gardener Cherubino
name: monellaccio a first-class, but so graceful and beautiful that we could not you angry for more
than a minute. Nothing but a page, but make it a great laugh, that you usually had to tear easily.
Cherubino was during this happy when you wake up all the hormones and trigger a putiferio that
you do not understand anything. The come out from under your bed, from behind the sofa, was
head of a tent, if it was inside the chest in the midst of headphones and sottogonne; the frigate tapes
only to draw, blessed, the scent: in short, a real elf , A pest that our boy countess had not the heart
of sgridare, partly because they loved below under the naive gallantry.
Now that just happened on the day fixed for the wedding of Figaro and Susanna, the sire of the
castle had to reluctantly agree, that day the lady countess was seized from her husband Mr in the
middle of a remescio unclear. Cherubino's fault, want to say that you perform on the usual madness
and he even jumped in mind to sing a song while Susanna ended comb. The trouble is that the count
because of a blown Don Basilio that was not his business ever, for some time had begun to look at
the page with suspicion and was not a genius that what was always there to hum around sottane his
wife or worse, his dearest Susanna. So this morning already turned the wrong way for the wedding,
having heard a vague sound guitar come from the rooms of the countess, decided unexpected lead.
Fortunately knocked, which allowed the page to make a nice flight from the window that gave the
garden and land happily on a pile of hay.
Although both the innocent look with round eyes, the count made more acute by jealousy had not
escaped this remescio and narrow the noiosissima consort with a scene that the poverina taken as
much manna, was almost a statement, then resolve to beat the until iron was hot. Thus the countess
lady and her maid gracefulness, the count came out with their tails between their legs, they decided
together to play one of those jokes to be healed forever, or at least for a while ', from his mania to
do the chicken .
There was a note in which gallant Susanna would invite the mature suitor to a conference in the
garden at night, that very night. It would be exchanged clothes and her mistress, so the count in the
crucial moment would close in the arms not the desired girl, but his wife. Meanwhile Susanna in the
shoes of the countess would menato for the nose of the fox Maritina expensive, given that men
generally think much more clever of their wives.
Pity that many other clouds of a decidedly thunderstorms will thicken the young husband: Don
Bartolo and Marcellina had chosen that day to break out the storm, waving under the eyes of the
count's famous promise of marriage made by the old furbastra Figaro.
Almaviva not to be another blow to the barracks and the puppets: stop all these wedding s'hanno not
be done. While Don Bartolo boasts hands ridacchiando and Comare Figaro had thrown on the fly on
honey, guess po 'who arrived at that precise moment? But Susanna, it is natural that began
immediately with ripping off the wig to the old attributing any sort of honorary title, among risatine
the count and the high protests of poor Figaro.
In the midst of such pandemonium anyone would have lost at least the compass, but the barber was
quite another pasta: My lords, a moment of silence said, have the goodness to listen to what I am
going to tell you. It pulled out the trump that had in store for a situation like that, why not say that
there was a man foresight: he found it impossible to pay the debt contracted with this Marcellina,
was honored yes the commitment to marry her, but not now, in this circumstance requiring the
consent of his noble relatives should first try. And with its intended his own him, Figaro, because
my lords know that I am a child abducted by a parent masnadieri ranking, as shown by these
documents and especially the tattoo you see here.
And he discovered his right arm, which had to pull a scream Marcellina and almost suffocated to
death Don Bartolo from the tobacco that was flair, but this is our beloved son that the bandits have

3. stolen! Son? You want me to believe that you are ... Your mother, and this is your father, "said the
former pretender old who was already working the brain, Don Bartolo indicating that he wanted to
dig a hole under the ground: this is my dear is the fruit of our old love, and Figaro indicated. I
understood everything, did Don Bartolo, we double-and marriage is over.
After this spectacular dissolution leave you imagine these people, despite the smiles forced
el'urbanità way, you eat the liver, and the beauty is that the poor still did not know what the joke is
preparing for that night. While everyone congratulated the two spouses who had become four,
Susanna they took advantage to slip into your pocket to count the fateful note, which read, he felt
dissolve in the stomach a heavenly balm that instantly healed by the whole bile that had swallowed
up to that point.
So was the night, one of those warm nights that encourage fans to take advantage of the soft moss
of the brakes rather than just a feather bed. And in the castle park that night there were all our own
heroes, young and old, slaves and masters, alone or in pairs, and everyone around looking for
something, those who remember, who an illusion, without knowing who good thing. Don Basilio
was pushed from a malignant curiosity, was the pageboy Cherubino that sniff the air filled with
fragrances and followed the trail, there were two old parrucconi, Don Bartolo and Marcellina, who
tried to relieve rheumatism and the spectrum of age; Figaro was trying everything merry that his
Susanna ec'era Count ringalluzzito that tried him well. But above all there were the two women a
fair with the other clothes.
Which was fatal in and turn everything around you were sooner or later clash, and was the first
Cherubino who went on to beat Countess, Susanna namely, that it sent to that country with a shoo
shoo peremptory and so little in the style of countess that the boy was somewhat perplexed on a
tour himself tripped right on Susanna, that the countess, who eagerly followed all the steps of the
other. Redarguito time with genteel sweetness Cherubino ended up not understand anything,
resolving to himself that this was probably a game or a joke of women and that he then agreed to
stay around.
It thread in a pagoda ready to jump out just what had made interesting. It does not take long to
witness a scene really hot: Almaviva, that a judge had dall'odore have paid him a bottle of perfume,
rushed on Susanna or who the hell was with the ardor of a young lover. The trouble is that not only
was enjoying Cherubino, you say, the scene half hidden by a tree was completely Figaro and unable
braised to deliver sound.
Fortunately, the real Susanna marked the close and hastened to seal the pitch: Come out of here
soon, we cry together our unfortunate fate. And disguising the voice of el'andatura lady drag in a
sort of shed gear that was found nearby.
It should just admit it, or read Susanna so bad that even a child or there would be cascading Figaro
was so stracotto you would have recognized that a thousand; fact is that we noticed almost
immediately, but thought well to stay silent and continue some farce 'for fun, some' to make them
pay kiwigurl that had taken: secure lady, who never saw two unhappy people like us so unworthily
betrayed, said with emphasis, and it is therefore necessary consular our hearts grieve for making it
focaccia pan. And the clipping for life, causing an immediate reaction Susanna that made him turn
his face the other side with a good slap. So I piaci Susannetta, shouted Figaro in seventh heaven, but
now we make peace.
Arranged the nouveau happily married, who was the other two? E 'sure they were not ill and would
have been even better had they been able to continue to delude ourselves, but sooner or later things
go back to the place. Order had to be done before everything s'incasinasse again, and order for some
time would last.
Were the servants with torches and the couple was surrounded, the light brightened the face of the
countess who until then had illusions of being another, younger, more desired. The count is
ashamed and fell at his feet, thinking that the error had him in rebuild the ancient enchantment.
Domandatevi if not the next day would have changed his mind: that night everything was in the

4. right place, including Cherubino who came out from his hiding place after having seen and heard
unspeakable things finally knew what until then had seemed confused and almost incomprehensible
The Betrothed (Manzoni novel)
The Betrothed (orig. Italian: I Promessi Sposi) is an Italian historical novel by Alessandro
Manzoni, first published in 1827, in three volumes. It has been called the most famous and widely
read novel of the Italian language.[1]
Plot summary
Chapters 1-8: Flight from the village
A view of the Lake Como from chapter 1
Renzo and Lucia, a couple in an unnamed Lombard village near Lake Como, are planning to wed
on 8 November 1628. The parish priest, Don Abbondio, is walking home on the previous evening
when he is met by a pair of "Bravoes" (Thugs) who tell him he is not to perform the marriage, as the
local baron (Don Rodrigo) forbids it.
The next day, Renzo is amazed when he turns up at Don Abbondio's home to hear that the marriage
is to be postponed (he didn't have the courage to tell the truth). A long argument ensues and Renzo
succeeds in extracting from the priest the name of Don Rodrigo. It turns out that Don Rodrigo has
his eye on Lucia.
Lucia's mother, Agnese, advises Renzo to ask the advice of "Dr. Azzeccagarbugli" (Dr
Quibbleweaver, in Colquhoun's translation), a lawyer in the town of Lecco. Dr Azzeccagarbugli is
at first sympathetic, showing Renzo a recent edict on the subject of priests who refuse to marry, but
when he hears the name of Don Rodrigo he panics and drives Renzo away. Lucia sends a message
to "Fra Cristoforo" (Friar Christopher), a respected Capuchin friar at the monastery of Pescarenico,
asking him to come as soon as he can.

5. Fra Cristoforo and Don Rodrigo
At dawn, Fra Cristoforo comes to Lucia's cottage and hears the story. He immediately leaves for
Don Rodrigo's mansion, where he finds the baron at a meal with his cousin Count Attilio, along
with four guests, including the mayor and Dr Azzeccagarbugli. When Don Rodrigo is taken aside
by the friar, he explodes with anger at his presumption, and sends him away, but not before an old
servant has a chance to offer him help.
Meanwhile, Agnese comes up with a plan. In those days, it was possible for two people to marry by
declaring themselves married before a priest in the presence of two amenable witnesses. Renzo runs
to his friend Tonio and offers him 25 lire if he agrees to help. When Fra Cristoforo returns with the
bad news, they decide to put their plan into action.
The next morning, Lucia and Agnese are visited by beggars who are in fact Don Rodrigo's men in
disguise, examining the house in order to plan an assault. Late at night, Agnese distracts the servant
Perpetua while Tonio and his brother Gervaso enter Don Abbondio's study, ostensibly to pay a debt.
They are followed indoors secretly by Lucia and Renzo. When they try to carry out their plan, the
priest throws the tablecloth in Lucia's face, and drops the lamp, and they struggle in the darkness.
In the meantime, Don Rodrigo's men invade Lucia's house – but nobody is there. A boy named
Menico arrives with a message of warning from Fra Cristoforo, and they seize him; but when they
hear the alarm being raised by the sacristan, they assume they have been betrayed, and flee in
confusion. Menico sees Agnese, Lucia and Renzo in the street and warns them not to return home.
They go to the monastery, where Fra Cristoforo gives Renzo a letter of introduction to a certain
friar at Milan, and another letter to the two women, to organise a refuge at a convent in the nearby
city of Monza.
Chapters 9-10: the Nun of Monza
The nun of Monza
Lucia is entrusted to the nun Gertrude, a strange and unpredictable noblewoman whose story is told
in these chapters.
A child of the most important family of the area, her father decided to send her to the cloisters for
no other reason than to simplify his affairs: he wished to keep his properties united for his first-
born, heir to the family's title and riches. As she grew up, she sensed that she was being forced by
her parents into a life which would comport but little with her personality. However, fear of
scandal, as well as manoeuvres and menaces from her father, induced Gertrude to lie to her
interviewers in order to enter the convent of Monza, where she was received as la Signora ("the

6. lady"). Later, she fell under the spell of a young man of no scruples, associated with the worst baron
of that time, the Innominato (the Unnamed).
Chapters 11-17: Renzo in Milan
The Grand Chancellor Ferrer from chapter 13
Renzo arrives in famine-stricken Milan and goes to the monastery, but the friar he is seeking is
absent, and he wanders further into the city. A bakery in the Corsia de' Servi, El prestin di scansc
("Bakery of the Crutches"), is destroyed by a rabble, which then goes to the house of the
Commissioner of Supply in order to lynch him. He is saved in the nick of time by Ferrer, the Grand
Chancellor, who arrives in a coach and announces he is taking the Commissioner to prison. Renzo
becomes prominent as he helps Ferrer make his way through the crowd.
After witnessing these scenes, Renzo joins in a lively discussion and reveals views which attract the
notice of a police agent in search of a scapegoat. The agent tries to lead Renzo directly to "the best
inn" (i.e. prison) but Renzo is tired and stops at one nearby, where after being plied with drink he
reveals his full name and address. The next morning he is woken by a notary and two bailiffs, who
handcuff him and start to take him away. In the street Renzo announces loudly that he is being
punished for his heroism the day before, and with the aid of sympathetic onlookers he effects his
escape. Leaving the city by the same gate he entered, he sets off for Bergamo, knowing that his
cousin Bortolo lives in a village nearby, where he will be beyond the reach of the authorities of
Milan (under Spanish domination), as Bergamo is territory of the Most Serene Republic of Venice.
At an inn in Gorgonzola, he overhears a conversation which makes it clear to him how much
trouble he is in, and he walks all night until he reaches the River Adda. After a short sleep in a hut
he crosses the river at dawn in the boat of a fisherman, and makes his way to his cousin's house,
where he is welcomed as a silk-weaver under the pseudonym of Antonio Rivolta. The same day,
orders for Renzo's arrest reach the town of Lecco, to the delight of Don Rodrigo.
Chapters 18-24: Lucia and the Unnamed

7. Lucia is kidnapped from the convent
News of Renzo's disgrace comes to the convent, but later Lucia is informed that Renzo is safe with
his cousin. Their reassurance is short-lived: when they receive no word from Fra Cristoforo for a
long time, Agnese travels to Pescarenico, where she learns that he has been ordered by a superior to
the town of Rimini. In fact, this has been engineered by Don Rodrigo and Count Attilio, who have
leaned on a mutual uncle of the Secret Council, who has leaned on the Father Provincial.
Meanwhile, Don Rodrigo has organised a plot to kidnap Lucia from the convent. This involves a
very great robber baron whose name has not been recorded, and who hence is called l'Innominato,
the Unnamed.
Gertrude, blackmailed by Egidio, a male neighbour (and acquaintance of l'Innominato) whose
attentions she has returned, persuades Lucia to run an errand which will take her outside of the
convent for a short while. In the street Lucia is seized and bundled into a coach. After a nightmarish
journey, Lucia arrives at the castle of the Unnamed, where she is locked up in a chamber.
The Unnamed with Cardinal Borromeo
The Unnamed is troubled by the sight of her, and spends a horrible night in which memories of his
past and the uncertainty of his future almost drive him to suicide. Meanwhile, Lucia spends a
similarly restless night, during which she vows to take the veil if she is delivered from her
predicament. Towards the morning, on looking out of his window, the Unnamed sees throngs of
people walking past. They are going to listen to the famous Archbishop of Milan, Cardinal Federigo
Borromeo. On impulse, the Unnamed leaves his castle in order to meet this man. This meeting
prompts a "miraculous" conversion which marks the turning-point of the novel. The Unnamed
announces to his men that his reign of terror is over. He decides to take Lucia back to her native
land under his own protection, and with the help of the archbishop the deed is done.
Chapters 25-27: Fall of Don Rodrigo
The astonishing course of events leads to an atmosphere in which Don Rodrigo can be defied
openly, and his fortunes take a turn for the worse. Don Abbondio is reprimanded by the archbishop.
Lucia, miserable about her vow to renounce Renzo, still frets about him. He is now the subject of
diplomatic conflict between Milan and Bergamo. Her life is not improved when a wealthy
busybody, Donna Prassede, insists on taking her into her household, and admonishing her for
getting mixed up with a good-for-nothing like Renzo.
Chapters 28-30: Famine and War
The government of Milan is unable to keep bread prices down by decree, and the city is swamped
by beggars. The lazzaretto is filled with the hungry and sick.

8. Meanwhile the Thirty Years War brings more calamities. In September 1629, German armies under
Count Rambaldo di Collalto descend into Italy, looting and destroying. Agnese, Don Abbondio and
Perpetua take refuge in the well-defended territory of the Unnamed. In their absence their village is
wrecked by the mercenaries.
Chapters 31-33: Plague
These chapters are occupied with an account of the plague of 1630, largely based on Giuseppe
Ripamonti's De peste quae fuit anno 1630 (published in 1640). Manzoni's full version of this, Storia
della Colonna Infame, was finished in 1829, but not published until it was included as an appendix
to the revised edition of 1842.
The end of August 1630 sees the death in Milan of the original villains of the story. Renzo, troubled
by Agnese's letters, and recovering from plague, returns to his native village to find that many of the
inhabitants are dead and that his house and vineyard have been destroyed. The warrant, and Don
Rodrigo, are forgotten. Tonio tells him that Lucia is in Milan.
Chapters 34-38: Conclusion
On his arrival in Milan, Renzo is astonished at the state of the city. His highland clothes invite
suspicion that he is an "anointer": that is, a foreign agent deliberately spreading plague in some
way. He learns that Lucia is now languishing at the lazzaretto along with 16,000 other victims of
the plague.
But in fact, Lucia is already recuperating. Renzo and Lucia are reunited by Fra Cristoforo, but only
after Renzo first visits and forgives the dying Don Rodrigo. The friar absolves her from her vow of
celibacy. Renzo walks through a rainstorm to see Agnese at the village of Pasturo. When they all
return to their native village, Lucia and Renzo are finally married by Don Abbondio, and the couple
make a fresh start at a silk-mill at the gates of Bergamo.

9. Marriage in art
.
SPOSALIZIO DELLA VERGINE (1502-1504)
Pietro Perugino (1450 circa - 1523)
The Marriage of the Virgin is a painting by the Italian Renaissance master Perugino. It is housed in
the Musée des Beaux-Arts of Caen, France.
Perugino painted his Marriage of the Virgin for a chapel in the cathedral in Perugia, which was
completed in 1489, and in which the Virgin's engagement ring was kept. This valuable relic had
been stolen from a church in Chiusi in 1478 and had only recently been retrieved, so it is not
surprising that it is in the centre of this picture. Pinturicchio had been originally been commissioned
to complete of the work, but when he failed Perugino was called on. He finished the work around
1500-1504, probably after several periods of stasis.
Later, in 1797, the picture was confiscated by Napoleon and was subsequently taken to Caen,
Normandy. Any attempt of the commune of Perugia, which saw also the personal commitment of
Antonio Canova, to retrieve the work failed.
The wide perspective of the picture, with at its centre a hoctagonal edifice and the aligned
composition of the figures on the sides, is strongly related to the Perugino's Christ Giving the Keys
to St. Peter at the Sistine Chapel.
Raphael, Perugino's pupil, painted a version of his own of the picture in 1504.

10. The Marriage of the Virgin is a painting by the
Italian High Renaissance master Raphael, 1504. It is housed in the Pinacoteca di Brera of Milan.
The panel (signed and dated: RAPHAEL URBINAS MDIIII) was commissioned by the Albizzini family
for the chapel of St Joseph in the church of S. Francesco of the Minorities at Città di Castello, in
Umbria. In 1798 the town was forced to donate the painting to General Giuseppe Lechi, a
Napoleonic army officer, who sold it to the Milanese art dealer, Sannazzari. Sannazzari bequeathed
it to the main hospital of Milan in 1804. Two years later it was acquired by the Academy of Fine
Arts and was then exhibited at the
Critics believe the painting to be inspired by two compositions by Perugino: the celebrated Christ
Delivering the Keys to St. Peter from the fresco cycle in the Sistine Chapel and a panel containing
the Marriage of the Virgin now in the Museum of Caën.

11. The object of a vandal's attack some years ago, the signed and dated Marriage is a particularly
beloved painting by Raphael, one of the unqualified favourites of the Renaissance. In it, Raphael
makes the transition from a highly skilled but devoted follower of Perugino in the local Umbrian
manner, to an artist who represents the epitome of the Renaissance. This painting was executed
immediately before Raphael's trip to Florence where he experienced firsthand the sculpture of
Donatello as well as the art of his most famous older contemporaries, Leonardo da Vinci and
Michelangelo. The figures, with their small oval heads upon which tiny features are applied, seem
to come directly from his teacher's idiom.
By painting his name and the date, 1504, in the frieze of the temple in the distance, Raphael
abandoned anonymity and confidently announced himself as the creator of the work. The main
figures stand in the foreground: Joseph is solemnly placing the ring on the Virgin's finger, and
holding the flowering staff, the symbol that he is the chosen one, in his left hand. His wooden staff
has blossomed, while those of the other suitors have remained dry. Two of the suitors, disappointed,
are breaking their staffs.
The polygonal temple in the style of Bramante establishes and dominates the structure of this
composition, determining the arrangement of the foreground group and of the other figures. In
keeping with the perspective recession shown in the pavement and in the angles of the portico, the
figures diminish proportionately in size. The temple in fact is the centre of a radial system
composed of the steps, portico, buttresses and drum, and extended by the pavement. In the doorway
looking through the building and the arcade framing the sky on either side, there is the suggestion
that the radiating system continues on the other side, away from the spectator.
Caught at the culminating moment of the ceremony, the group attending the wedding also repeats
the circular rhythm of the composition. The three principal figures and two members of the party
are set in the foreground, while the others are arranged in depth, moving progressively farther away
from the central axis. This axis, marked by the ring Joseph is about to put on the Virgin's finger,
divides the paved surface and the temple into two symmetrical parts. A tawny gold tonality prevails
in the colour scheme, with passages of pale ivory, yellow, blue-green, dark brown and bright red.
The shining forms appear to be immersed in a crystalline atmosphere, whose essence is the light
blue sky.
The structure of Raphael's painting, which includes figures in the foreground and a centralized
building in the background, can certainly be compared to the two Perugino paintings. But Raphael's
painting features a well developed circular composition, while that of Perugino is developed
horizontally, in a way still characteristic of the Quattrocento. The structure of the figure group and
of the large polygonal building clearly distinguish Raphael's painting from that of his master. The
space is more open in Raphael's composition, indicating a command of perspective which is
superior to Perugino's.

12. Saverio Altamura : Matrimonio medioevale

13. Il matrimonio della Vergine di Luca Giordano
Johann Thorn Prikker : la sposa

14. John Millais: la Sposa
Antoine Watteau: Il contratto di matrimonio

15. Giovanni Battista Tiepolo: Concordia matrimoniale

17. The section devoted to films of the most
famous Italian and foreign
LOVE ACTUALLY - L'AMORE DAVVERO LOVE ACTUALLY - REALLY
LOVE
Anno: 2003 - Nazione: Gran Bretagna - Regia: Richard Curtis - Durata: 135' Year:
2003 - Nation: Great Britain - Director: Richard Curtis - Duration: 135 '
Interpreti: Rowan Atkinson, Laura Linney, Keira Knightley, Liam Neeson, Emma
Thompson, Colin Firth, Hugh Grant Cast: Rowan Atkinson, Laura Linney, Keira
Knightley, Liam Neeson, Emma Thompson, Colin Firth, Hugh Grant
Ten stories of love united by a single thread, set in London a few weeks before Christmas.
A minister falls in love with a young woman of his staff, a married woman suspected the betrayal of
her husband and goes into crisis, a girl finally manages to overcome his chronic shyness and said to
my colleague, a writer finds an unexpected new love while trying to remember a story just ended
sadly A final multiple which unravels during the night of Christmas.
OGGI SPOSI... NEWLYWEDS TODAY ... NIENTE SESSO NO SEX
Anno: 2003 - Nazione: USA, Germania - Regia: Shawn Levy - Durata: 95' Year: 2003 - Nation:
USA, Germany - Director: Shawn Levy - Duration: 95 '
Interpreti: Monet Mazur, David Moscow, Christian Kane, Brittany Murphy, Ashton Kutcher Cast:
Monet Mazur, David Moscow, Christian Kane, Brittany Murphy, Ashton Kutcher Tom and Sarah
are very different, he earns his living by reading the bulletins on the radio traffic, she
comes from a very rich family, is educated and beautiful. Convicts pulled a ball on a
beach to meet them. Despite the opinion of her family, Tom and Sarah are getting
married. Italy is the destination for their honeymoon, which soon turns into a
nightmare. To aggravate things even goes as the former lover of Sarah, which of
course is full of charm and money. But the trip to Europe, arguing and mishaps, it
will also serve to strengthen ties between the two couples
PRIMA TI SPOSO POI TI ROVINO TI SPOSO BEFORE THEN IT RUINS
Anno: 2003 - Nazione: USA - Regia: Joel Coen - Durata: 100' Year: 2003 - Country: USA -
Director: Joel Coen - Duration: 100 '
Interpreti: Jack Kyle, Billy Bob Thornton, Geoffrey Rush,
Catherine Zeta-Jones, George Clooney Cast: Jack Kyle, Billy Bob

18. Thornton, Geoffrey Rush, Catherine Zeta-Jones, George Clooney
IL MIO GROSSO GRASSO MATRIMONIO GRECO MY BIG FAT GREEK WEDDING
Anno: 2002 - Nazione: USA - Regia: Joel Zwick - Durata: 95'' Year: 2002 - Country: USA -
Directed by Joel Zwick - Length: 95''
Interpreti: Andrea Martin, Bess Maisler, Lainie Kazan, Michael Constantine, John Corbett, Nia
Vardalos Cast: Andrea Martin, Bess Maisler, Lainie Kazan, Michael Constantine, John Corbett,
Nia Vardalos
LE NOZZE WEDDING
Anno: 2000 - Nazione: Fr., Ger., Russia - Regia: Pavel Lungin - Durata: 114' Year: 2000 -
Country: Fr, Ger., Russia - directed by Pavel Lungin - Duration: 114 '
Interpreti: Marat Basharov, Mariya Mironova, Andrei Panin, Vladimir Simonov Cast: Marat
Basharov, Mariya Mironova, Andrei Panin, Vladimir Simonov
PRIMA O POI MI SPOSO PRIMA O POI MI SPOSO
Anno: 2000 - Nazione: USA - Regia: Adam Shankman - Durata: 102' Year: 2000 - Country:
USA - Director: Adam Shankman - Duration: 102 '
Interpreti: Bridgette Wilson, Matthew McConaughey, Jennifer Lopez Cast: Bridgette Wilson,
Matthew McConaughey, Jennifer Lopez
SE SCAPPI, TI SPOSO SCAPPA SE, TI SPOSO
Anno: 1999 - Nazione: USA - Regia: Garry Marshall - Durata: 116' Year: 1999 - Country: USA
- Director: Garry Marshall - Duration: 116 '
Interpreti: Richard Gere (Ike Graham), Julia Roberts (Maggie Carpenter), Joan
Cusack (Peggie), Rita Wilson (Ellie) Cast: Richard Gere (Ike Graham), Julia
Roberts (Maggie Carpenter), Joan Cusack (worse), Rita Wilson (Ellie)
I PROMESSI SPOSI The Betrothed
Anno: 1941 - Nazione: Italia - Regia: Mario Camerini - Durata: 115' Year: 1941 -
Country: Italy - Director: Mario Camerini - Duration: 115 '
Interpreti: Gilda Marchiò, Ruggero Ruggeri, Dina Sassoli, Gino Cervi Cast: Gilda Marchiò,
Ruggero Ruggeri, Dina Sassoli, Gino Cervi
ERO UNO SPOSO DI GUERRA ERO ONE SPOSO WAR
Anno: 1949 - Nazione: USA - Regia: Howard Hawks - Durata: 105' Year: 1949 - Country: USA
- Director: Howard Hawks - Duration: 105 '
Interpreti: Randy Stuart, Marion Marshall, Ann Sheridan, Cary Grant Cast: Randy Stuart, Marion
Marshall, Ann Sheridan, Cary Grant
E' ARRIVATO LO SPOSO E 'LO SPOSO ARRIVED
Anno: 1951 - Nazione: USA - Regia: Frank Capra - Durata: 114' Year: 1951 - Country: USA -
Director: Frank Capra - Duration: 114 '
Interpreti: Bing Crosby, Jane Wyman, Franchot Tone Cast: Bing Crosby, Jane Wyman, Franchot
Tone
IL MATRIMONIO THE MARRIAGE
Anno: 1953 - Nazione: Italia - Regia: Antonio Petrucci - Durata: 82' Year: 1953 - Country: Italy
- Director: Anthony Petrucci - Duration: 82 '
Interpreti: Renato Rascel, Silvana Pampanini, Vittorio De Sica, Alberto Sordi Cast:
Renato Rascel, Silvana Pampanini, Vittorio De Sica, Alberto Sordi

19. COME SPOSARE UN MILIONARIO AS A MARRIED MILIONARIO
Anno: 1953 - Nazione: USA - Regia: Jean Negulesco - Durata: 95' Year: 1953 -
Country: USA - Director: Jean Negulesco - Duration: 95 '
Interpreti: David Wayne, Betty Grable, Lauren Bacall, Marilyn Monroe Cast: David Wayne,
Betty Grable, Lauren Bacall, Marilyn Monroe
PRANZO DI NOZZE WEDDING LUNCH
Anno: 1956 - Nazione: USA - Regia: Richard Brooks - Durata: 93' Year: 1956 - Country: USA -
Director: Richard Brooks - Duration: 93 '
Interpreti: Bette Davis, Ernest Borgnine, Debbie Reynolds, Barry Fitzgerald Cast: Bette Davis,
Ernest Borgnine, Debbie Reynolds, Barry Fitzgerald