Marcello Mastroianni


The film, Yesterday, Today, and Tomorrow has three episodes that revolve around single locations. For visual realization of the minimum settings, the production designer, Ezio Frigerio, has done an outstanding job. Another contributing subject is the cinematographer, Giuseppe Rotunno who has worked on the lighting, visual, sound, color and other aspects of the film. The artistic recognition of the movie stems from the excellent work put in the various locations which each has a distinct as well as a common integral element of character or cultural importance. However, the most significant visual challenge lies in creating movement in the restricted areas that come with the film’s second segment. In the lackluster part, has the most unremarkable ‘’anna’’. Despite that De Sica was not supposed to be over stylish, the scene ‘’anna’’ has a unique self-conscious opening. Here, De Sica and Rotunno start to capture from the backseat of the titular driver’s car. The viewers are not able to see Loren’s face as she drives without exceptional care through the motorway. The movement helps to create the tension of Loren as she murmurs to herself about the pressure of commitment, meetings, concerts, an appointment with the hairdresser and such. The careful placement of ‘anna’’ in a luxurious car is the same as the world of ‘’Adelina’’ or other similar subjects.
As a necessary thing, due to the situation of the story, combined with the fact that De Sica chose to put the camera moving around, ‘’Anna’ has a larger sense of movement as compared to ‘Adelina’’ despite that the main drama remains intimately confined. The 15-minute drive with Anna and her male lover companion differs in tone as compared with the surrounding parts up to the end. Loren Anna is a cruel person and her exquisitely designed car, helps to enforce that feeling. The automobile is an operative status symbol, and it represents order, power, control, and refinement. The same traits are what pulls back the shot because everything seems superficially appropriate, enacted, as well as well-crafted but lacks joy. Anna’s composure breaks once the vehicular prosperity ends and Renzo lightens up, this removes the tastelessness of the chapter.
It is arguable that Loren’s performance in this scene expands her character and she is not a likable protagonist as compared with the passive Renzo. He comes off as a character that the audience would love to sympathize. Maybe, but with the chapter titles of the film, it should be clear that the film as a whole is a showcase of a perfect actress. No matter the role she takes, the film makes her radiant. The first two episodes are all about her vitality and other influential characters. All these can manifest due to the position of the angles, camera movement, and eye-level shots. One can also give credit to props that provide the film with artistry.
To sum it up, Reflecting on this film’s charm, Yesterday, Today and Tomorrow has an appall when it comes to the astute comic art. Apart from the brief bland midsection, the movie is excellent. The capturing and the setting compels the viewers to relate with the actors. As a director, Yesterday, Today, and Tomorrow is an authentic film that compiles most elements of a movie and tells of a story.

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