| Videos (see all 2 NEW) |
| Helen Mirren | ... | Karen Stone | |
| Olivier Martinez | ... | Paolo di Lio | |
| Anne Bancroft | ... | Contessa | |
| Rodrigo Santoro | ... | Young Man | |
| Brian Dennehy | ... | Tom Stone | |
| Roger Allam | ... | Christopher | |
| Victor Alfieri | ... | Lorenzo | |
| Suzanne Bertish | ... | Julia | |
| Jane Bertish | ... | Karen's Secretary | |
| Tara Lynne O'Neill | ... | Angel Hunter | |
| Salvatore Lazzaro | ... | Barber | |
| Sara James | ... | Hairdresser | |
| Riccardo Sardonè | ... | Marco (as Riccardo Sadroné) | |
| Dona Granata | ... | Mama Pepisco | |
| Aldo Signoretti | ... | Papa Pepisco | |
| Ángel Alonso | ... | Guido (as Angel Alonso) | |
| Frank Crudele | ... | Peppo | |
| Genevieve Mackenzie | ... | Maid | |
| Jack Lynch | ... | Reporter | |
| Morgan O'Sullivan | ... | Reporter | |
| Rebecca Smith | ... | Stewardess |
Directed by | |||
| Robert Allan Ackerman | |||
Writing credits(in alphabetical order) | ||
| Martin Sherman | writer | |
| Tennessee Williams | novella | |
Produced by | |||
| James Flynn | .... | producer | |
| Howard Gibbins | .... | line producer | |
| Hilary Heath | .... | executive producer | |
| Morgan O'Sullivan | .... | producer | |
Original Music by | |||
| John Altman | |||
Cinematography by | |||
| Ashley Rowe | |||
Film Editing by | |||
| Melissa Kent | |||
Casting by | |||
| Maureen Hughes | |||
| Amy Rowan | |||
Production Design by | |||
| Tom Conroy | |||
Art Direction by | |||
| Susanna Codognato | |||
| Padraig O'Neill | |||
Set Decoration by | |||
| Laura Bowe | |||
Costume Design by | |||
| Dona Granata | |||
Makeup Department | |||
| Orla Carrol | .... | key hair stylist: Dublin (as Orla Carroll) | |
| Giuseppe Desiato | .... | makeup artist: Italy | |
| Massimiliano Duranti | .... | assistant hair stylist: Italy | |
| Morna Ferguson | .... | key makeup artist | |
| Ferdinando Merolla | .... | hair stylist | |
| Niamh O'Loan | .... | makeup assistant: Dublin | |
| Aldo Signoretti | .... | key hair stylist: Ms. Mirren | |
Production Management | |||
| Enrico Ballarin | .... | production manager: Italy | |
| Laura Cappato | .... | unit manager: Italy | |
| Jo Homewood | .... | production manager: Dublin | |
| Chad Tomasoski | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Sandra Corbally | .... | trainee assistant director: Dublin | |
| Edoardo Ferretti | .... | second assistant director: Italy | |
| Mary Gough | .... | second assistant director | |
| Sean Griffin | .... | third assistant director: Dublin | |
| Barbara Mulcahy | .... | first assistant director | |
| Davide Sacchetti | .... | second second assistant director | |
| Francesco Scopelliti | .... | assistant director | |
| Luigi Spoletini | .... | second assistant director: Italy | |
Art Department | |||
| Maximilian Aita | .... | property dressing: Dublin (as Max Aita) | |
| Roberta Amodio | .... | property buyer: Italy | |
| Anthony Arkins | .... | stagehand: Dublin | |
| Edward Arkins | .... | stagehand: Dublin | |
| George Arkins | .... | stagehand: Dublin | |
| Thomas John Atkins | .... | stand-by stagehand: Dublin | |
| Ignacio Barbe | .... | set dresser | |
| Ken Carlisle | .... | carpenter: Dublin | |
| David Chambers | .... | stagehand: Dublin | |
| Liz Colbert | .... | art department trainee | |
| Vincenzo De Stefano | .... | drapes: Italy | |
| Pascal Farrell | .... | supervising carpenter: Dublin | |
| Michael Flood | .... | property supervisor: Dublin | |
| Michael Freeney | .... | rigger: Dublin | |
| Ruggero Gamba | .... | stand-by assistant property: Italy | |
| Jimmy Gillen | .... | stagehand: Dublin | |
| John Greene | .... | painter: Dublin | |
| Martin Hayes | .... | carpenter: Dublin | |
| Bernard Hickie | .... | property dressing: Dublin | |
| Gisella Ingrassia | .... | stand-by painter: Italy | |
| James Kavanagh | .... | drapes: Dublin | |
| Darren Keenan | .... | stand-by painter: Dublin | |
| Martin Kenny | .... | painter: Dublin | |
| Matthew Kirwan | .... | carpenter: Dublin | |
| Gerard Lanigan | .... | property stand-by | |
| Eoin Lewis | .... | property dressing: Dublin | |
| Nicky Macmanus | .... | carpenter: Dublin | |
| Charles Maloney | .... | painter: Dublin | |
| James McGetrick | .... | assistant property stand-by: Dublin | |
| Robert Meldon | .... | rigger: Dublin | |
| Ed Norton | .... | construction manager: Dublin | |
| Lesley Oakley | .... | draughtsperson | |
| Irene O'Brien | .... | first assistant art director | |
| Liam O'Riain | .... | carpenter: Dublin | |
| Roberto Palombelli | .... | property dressing: Italy | |
| Sheelagh Power | .... | art department property buyer: Dublin | |
| Bob Pritchard | .... | property store person: Dublin | |
| Laurence Quinn | .... | construction buyer: Dublin | |
| Saverio Sammali | .... | assistant art director | |
| Ken Samson | .... | rigger: Dublin | |
| Giovanbattista Sbragi | .... | property dressing: Italy | |
| Alan Siggins | .... | painter: Dublin | |
Sound Department | |||
| Francesco Azzini | .... | sound assistant: Italy | |
| Dicken Berglund | .... | adr mixer | |
| Daniel Birch | .... | sound mixer | |
| Tom Bognar | .... | assistant sound editor | |
| Mark Cookson | .... | sound effects editor | |
| Ryan Darden | .... | assistant sound editor | |
| Russell DeWolf | .... | dialogue editor | |
| John Edwards-Younger | .... | sound effects editor (as John S. Edwards-Younger) | |
| Thom 'Coach' Ehle | .... | sound consultant: Dolby (as Thom Ehle) | |
| Andrew Felton | .... | sound trainee: Dublin | |
| William Freesh | .... | sound re-recording mixer | |
| John Green | .... | dialogue editor (as John F. Green) | |
| Stephen Grubbs | .... | supervising sound editor | |
| Nathan Hankins | .... | assistant sound editor | |
| Richard Hetherington | .... | boom operator | |
| Anthony Mazzei | .... | supervising sound editor | |
| Sean McCormack | .... | sound recordist | |
| Gus Medina | .... | foley mixer | |
| Tim O'Donovan | .... | sound trainee: Dublin | |
| Dale W. Perry | .... | foley artist (as Dale Perry) | |
| Kevin Roache | .... | adr recordist | |
| R. Russell Smith | .... | sound re-recording mixer | |
Special Effects by | |||
| Tiberio Angeloni | .... | special effects: Italy | |
| Franco Galiano | .... | special effects coordinator: Italy | |
Visual Effects by | |||
| Christopher Dusendschon | .... | digital imaging supervisor: iO FILM | |
| Adam Hawkey | .... | digital film opticals: iOFilm | |
Stunts | |||
| Philippe Zone | .... | stunt coordinator | |
Casting Department | |||
| Francesco Vedovati | .... | casting: Italy | |
Costume and Wardrobe Department | |||
| Giuseppe Avallone | .... | costume assistant: Italy | |
| Hermano Boccanera | .... | costume trainee: Italy | |
| Catherine Buyse Dian | .... | costume assistant: Italy | |
| Stefano Giovani | .... | costume assistant: Italy | |
| Gill Howard | .... | assistant costume designer | |
| Olga Michalowska | .... | costume assistant: Italy | |
| Jessica O'Leary | .... | wardrobe supervisor | |
| Laura Sciotti | .... | seamstress: Italy | |
| Cassandra Steyn-Taylor | .... | wardrobe assistant | |
| Cesare Tanoni | .... | costume assistant: Italy | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| Tim King | .... | executive in charge of post-production | |
| Roger La Prairie | .... | telecine colorist | |
| Jarrod Miller | .... | post-production assistant | |
| Alexis Seymour | .... | first assistant editor | |
Music Department | |||
| James Bellamy | .... | music editor: UK | |
| Patrick S. Clark | .... | music editor (as Patrick Clark) | |
| James Collins | .... | music scoring mixer | |
Transportation Department | |||
| Tony De Simone | .... | driver: Italy | |
| Fabio Mancini | .... | transportation captain: Italy | |
| Fiona Mulvey | .... | transportation captain: Dublin | |
| Roberto Volpi | .... | driver: Italy | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
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I don't know of what social class Rodrigo Santoros character had been before the war but I do know Mussolini did favor the aristocratic crowd prior to the war, causing the middle class Italian to increasingly fear and hate him. I do remember my grandmother talking about his breaking up the unions and doing everything to help the wealthy. Santoro did not need to speak, his expressions and his eyes spoke for him. I don't believe he was anyone to be feared. He was homeless and hungry and probably ill. This wealthy lady represented life and survival to him, but how was he to catch her eye when he had nothing at all to offer but himself? The night that she was standing outside the restaurant and jumped at him demanding to know what he wanted from her showed us she had nothing to fear from him. He backed away and appeared as if he was about to cry. When she finally threw him the keys his eyes filled with hope as if the gates of heaven had been open to him. I believe he went to her, not to harm her but with the hope of becoming a very devoted companion to her. That in their union he would survive and she would not be lonely anymore.