Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

jeanlouisreginald Not a bad film. The other written reviews overrate it. One must surmise, due to the grammar, written by born-and-raised Italians and italo-Americans clinging to an identity, laying claim to what they view as their own Hollywood.The themes treated are, fairness, dignity, maschilismo, call to responsibility, redemption and finally feminism.The film presents you with a subject matter that has no age, treats it lightly, but doesn't trivialize or judge and has memorable one liners. No big innaccuracies. The movie itself has aged but not badly and it's appreciation relies on recognizing the filmmaking style and conventions of the era (and it's limits) and appreciating it as a Loren, Mastroiani De Sica film. (and probably the fact that it's Italian).The film doesn't show, only alludes to the squalor of prostitution and the Don using Filumena as a sex object. But rather concentrates on the offenses to her dignity and unrequited, unconditional love. Which in truth must be brought into question when she does the big reveal.The two characters, Don Domenico and Filumena are defined by how they view their relationship; resulting in one-dimensional characterization. Filumena is virtuous, hard-working, and justice seeking and The Don is a hedonist opportunist sexist playboy. That's it. The film doesn't delve into their past at all to show us how they came to be who they are and they have no familial relationships or considerations (except Don's prop-like mom) to influence their decisions. The audience can't get any insight into any of their reasoning besides what they would say to each other. Given the nature of their relationship (ego vs. ego) they shan't be direct so when they are, it feel like an unnatural exchange.The filmmakers have to move the plot and make the audience understand the two characters' mindset in limited exchanges mostly between themselves and the script and dialogue were not quite up to this task. The ending, a moralistic triumph for feminism, is unrealistic given the suppositions and there were no hints of, nor internal reason for the final turn of heart of The Don, and too many questions about Filomena's past unanswered. (Did she choose prostitution or forced into it? did she stop when The Don started maintaining her? When?).The acting is ok. I didn't see this 'amazing' chemistry. They were just acting. There was nothing; mannerisms, spontaneity, or glances, that hinted at any familiarity between the two actors even if they were friends off set.A far superior Italian comedic film is 'I Soliti Ignoti' although it doesn't have any drama but it does have a love subplot that is treated with genial comedy and naturally evolving and kinetic affair without the dreaded forced happy ending.This is the best review on this film since I have no emotional, or hereditary connection to the material, geographical area or the artists. It differs a lot form the majority of user reviews, so I may watch it again to modify or add to it If I missed something.

lasttimeisaw The film employs a tremendously perky rhythm and register to showcase the traits of the earthly Italy at its post-war development, even though essentially the overwrought kernel of a prostitute's tribulations could hardly appropriate as a comedy material. Vittorio De Sica's camera enigmatically haunts and pivots around two leads' present and past, the intangible love/hate chaos is disarmingly intriguing and subconsciously imbues the audience with a fervent compassion towards Sophia Loren's unswerving while passionate Filumena. The leading performance is worth of much accolade, especially for Sophia Loren, whose full-brown force of personality spanning over 20 years in the film and indisputably devotes a magnificent performance with all her zest and vigor. Marcello Mastroianni, is great as well, to hone up his versatility and render the womanizer an ambiguous moral criterion which is a more delicate task. I cannot help being fascinated by the exquisite script as well, credited by five names, no wonder all the twists and turns are so fruitful in a way that both surprising and amusing. Nominated for 2 Oscars (BEST FOREIGN FILM and a second BEST ACTRESS nomination for Loren) and is a milestone which not only represents Loren's heyday but also is a comforting fruition of Loren-Conti correlation. Maybe it is not director De Sica's best canon due to its slight superficiality of machismo, which I sense may not be the director's fault as it is a general bias lies in all over the globe. Anyway, the film itself surely is a fine piece captures a genuine Italian aura (the Naples' style) and definitely worth your pocket.

Feeny0902 This film was done because Sophia Loren wanted to do an interpretation of Eduardo De Filippo's play. The movie lacks the proletariat and cultured feel of the play, but rather offers a stylized interpretation of a great comedy. Loren is a fine passive aggressive actress, who portrays a woman in love and a woman in love 20 years down the line. She has great comedic timing in this role, though she doesn't have the same grit as the theatrical character is meant to. The chemistry between Loren and Mastroianni has great tension. He straddles a line between slick and comically confused. The actors and director capture the madness of love in real life. The flashbacks of their love life is captivating and builds very well. As the secrets and emotions unfold, you are drawn into the romance and tension of it all. They do not write stories like this anymore. This is original, it has heart and comedy. It is a great film to let you laugh and reflect on life.

Galina "Marriage Italian Style" is director Vittorio De Sica's fourth collaboration with the actress Sophia Loren. Loren's sensual exiting beauty, fine comic timing, combined with a brilliant script and the rare chemistry with the co-star Marcello Mastroianni makes the film an excellent combination of a sparkling and amusing farce and a poignant drama of one woman's life and struggles in the post-war Italy. As Domenico Soriano, a wealthy, arrogant and selfish Neapolitan businessman, Mastroianni is on the verge of marrying a younger woman when he hears that his long time mistress, ex-prostitute Filomena, is on her deathbed. He rushes to her side and agrees to marry Filomena in hopes to soon become a widower but when she recovers "miraculously" he recognizes that her illness was only a trick. Then, in her flashbacks, we learn that she did it for the sake of her three children of whom Domenico knew nothing about and one of them (or maybe all) could be his... Mastroianni and Loren had perhaps the best on-screen chemistry ever; it is delight to see them together in this film as well as in "Yesterday, Today, and Tomorrow" and "The Sunflowers" - little known but wonderful Soviet - Italian film, both by Vittorio De Sica. I also liked them together in Altman's "Prêt-à-Porter" (1994) aka "Ready to Wear". One scene in Marriage Italian Style should be on the list of the best ever filmed - young Filomena walks down a sidewalk in Naples to meet with Dominico and every man, regardless of his age stares at her with desire. I am a woman but I could not take my eyes off her - Cleopatra or Nefertity could've walked like that. My verdict - they don't make comedies like that anymore. 9.5/10