If you’ve ever found yourself scrolling through endless streaming carousels only to feel like every movie looks exactly the same, you need to look backward. Specifically, look at 1963. That was the year Vittorio De Sica released Yesterday, Today and Tomorrow (Ieri, oggi, domani), a film that basically defined what it meant to be sexy, funny, and deeply human all at once. It isn't just a "classic" in that dusty, homework-assignment sort of way. It’s a powerhouse.
Sophia Loren and Marcello Mastroianni. That’s the draw. They were the ultimate cinematic pairing, and in this film, they play three different couples in three different Italian cities. It’s an anthology, but it feels like a fever dream of mid-century Italian life. You get Naples, Milan, and Rome. Each segment captures a different social strata, but they’re all connected by the same chaotic energy of desire and survival.
The Naples Segment: Adelina and the Law
The movie kicks off with Adelina. She’s a street-smart woman in Naples who sells black-market cigarettes to keep her family afloat. It’s gritty but somehow vibrant. The problem? She’s facing prison time because she can't pay a fine. But there’s a loophole. In Italy at the time, you couldn't imprison a pregnant woman or a woman who had given birth within the last six months.
So, what does Adelina do? She stays pregnant. Constantly.
It’s hilarious but also kinda heartbreaking. Mastroianni plays her husband, Carmine, who is increasingly exhausted by the "duty" of keeping his wife out of jail. You see the toll it takes on a marriage when intimacy becomes a legal strategy. De Sica, who was a master of neorealism, sneaks in some pretty sharp commentary on poverty and the legal system while you're busy laughing at Carmine’s fatigue. The streets of Naples are characters themselves here—crowded, loud, and unforgiving.
High Society Frustrations in Milan
Then the movie shifts gears completely. We go to Milan. The color palette changes, the clothes get sharper, and the vibe gets a lot colder. Sophia Loren plays Anna, a wealthy, bored socialite driving a Rolls-Royce. Mastroianni is Renzo, her lover, who is decidedly not from her world.
This part is short. It’s punchy. It’s basically a long drive that goes horribly wrong. Anna talks about "giving it all up" for love, but the moment a minor accident threatens her expensive car, her true colors come out. It’s a brutal look at how class divides people even when they think they’re in love. Honestly, it’s the most cynical part of Yesterday, Today and Tomorrow, but it provides a necessary balance to the warmth of the first and third acts.
The Rome Segment: That Famous Striptease
If people know one thing about this movie, it’s the Rome segment. This is where we meet Mara, a high-end call girl who lives next door to a young seminary student. The tension is incredible. Mastroianni plays Augusto, a wealthy, frantic client from Bologna who just wants some attention.
The chemistry between Loren and Mastroianni here is peak cinema. You’ve probably seen the clip of the striptease. It’s been referenced and parodied a thousand times, most notably by the same actors in Robert Altman’s Prêt-à-Porter decades later. But in the original 1963 film, it’s not just about being provocative. It’s about power. It’s about Mara’s control over the room and Augusto’s hilariously pathetic howling in the background.
But there's a twist. Mara ends up making a vow of abstinence to help the neighbor’s grandson get back on his religious path. It’s ridiculous and sweet and very, very Italian.
Why the Critics Loved It (And the Academy Did Too)
This wasn't just a hit with audiences. Yesterday, Today and Tomorrow took home the Academy Award for Best Foreign Language Film in 1965. It beat out some heavy hitters. The reason it won is that it managed to be "prestige" while being genuinely entertaining. Usually, Oscar winners from that era were heavy, somber dramas. De Sica gave them a comedy that actually had meat on its bones.
- Directorial Pedigree: Vittorio De Sica was already a legend for Bicycle Thieves.
- Star Power: Mastroianni and Loren were at the absolute height of their global fame.
- Technicolor Brilliance: The cinematography by Giuseppe Rotunno made Italy look like a dream, even the poor parts.
Actually, if you look at the technical side, the editing is what keeps the anthology format from feeling disjointed. Each story has its own rhythm. The transition from the sweaty, frantic energy of Naples to the sleek, sterile streets of Milan feels like a splash of cold water.
The Cultural Impact of Yesterday, Today and Tomorrow
You can see the fingerprints of this movie on modern romantic comedies and even shows like The White Lotus. It’s that mixture of beautiful locations, complicated sexual politics, and a slight sense of the absurd.
People often forget that Italian cinema in the 60s wasn't just about art-house existentialism like Antonioni or Fellini. There was a massive industry for "Commedia all'italiana"—comedy, Italian style. This film is the gold standard of that genre. It deals with big themes:
- The absurdity of the law.
- The hypocrisy of the wealthy.
- The intersection of religion and sex.
It does all of this without ever feeling like a lecture. You’re too busy watching Loren’s wardrobe or Mastroianni’s impeccable comic timing to realize you're watching a critique of Italian society.
Where to Watch and What to Look For
If you’re going to watch it today, try to find a restored version. The colors in the Rome segment—the deep reds and the sunset hues—are vital to the mood. Also, pay attention to Mastroianni’s physical acting. He plays three completely different men. In Naples, he’s a scruffy, overwhelmed father. In Milan, he’s a submissive, slightly out-of-place lover. In Rome, he’s a spoiled, barking man-child. The range is staggering.
A lot of people ask if they need to know Italian history to "get" the movie. Not really. The emotions are pretty universal. You don't need a degree in 1960s sociology to understand that a woman trying to avoid jail or a guy who is too obsessed with his car are relatable tropes.
Actionable Steps for Film Lovers
If you want to dive deeper into this era of cinema or if you've just finished watching Yesterday, Today and Tomorrow, here is how to round out that experience:
- Watch 'Marriage Italian Style' next: Also directed by De Sica and starring the same duo (Loren and Mastroianni). It was filmed right after this and feels like a spiritual successor.
- Check out the Criterion Collection: They have a fantastic restoration of the film that includes interviews and essays explaining the specific Neapolitan slang used in the first segment, which adds a whole new layer to the humor.
- Compare the landscapes: Look at how De Sica uses the architecture of the three cities to tell the story. The cramped balconies of Naples vs. the wide, empty roads of Milan says more about the characters than the dialogue does.
- Research the 'Legge Merlin': If you want to understand the Rome segment better, look up the Merlin Law of 1958, which closed state-regulated brothels in Italy. It’s the backdrop for why Mara’s character exists in the way she does.
The movie holds up because it doesn't try to be anything other than a celebration of life's messiness. It’s about people trying to get by, trying to get laid, or just trying to stay out of trouble. It’s a reminder that while the "yesterday" of the title is long gone, the "today" and "tomorrow" of human nature haven't changed all that much.
