We All Loved Each Other So Much (C’eravamo tanto amati) is a 1974 Italian drama directed by Ettore Scola. A poignant and beautifully layered exploration of post-war Italy, friendship, politics, and personal compromise, the film is often hailed as a cornerstone of Italian cinema. With its mix of humor, melancholy, and political insight, it walks the line between personal drama and broader societal commentary.
Detailed Summary
Introduction: A Friendship Forged in War
The story follows three men—Gianni, Nicola, and Antonio—who met during the Italian Resistance in World War II. Their shared ideals and hopes for a better, more just world forged a deep bond. After the war, they each take different paths, shaped by their individual choices, ideals, and compromises.
Gianni: The Compromised Idealist
Gianni, once an idealistic law student, becomes a successful but morally ambiguous lawyer. He marries into wealth, turning his back on the cause he once fought for. His ambition distances him from his friends, and more significantly, from himself.
Antonio: The Everyman
Antonio, the most grounded of the trio, remains a humble hospital orderly. He’s steadfast and principled, but his working-class status and emotional vulnerabilities make him prone to heartbreak—especially when it comes to Luciana, the woman he loves.
Nicola: The Intellectual and Romantic
Nicola is a passionate teacher and cinephile who refuses to abandon his ideals. His stubbornness and pride often lead to professional and personal setbacks. He loses his job due to his political views and becomes somewhat of a tragic dreamer, clinging to his vision of the world.
Luciana: The Catalyst
Luciana, played by Stefania Sandrelli, becomes romantically involved with all three men at different points, symbolizing both personal longing and the shifting landscape of post-war Italian society. Her relationships with them expose each man’s core nature and the fragility of their ideals.
A Nation Reflected in Friendship
The film spans thirty years, interweaving personal stories with Italy’s changing political and cultural climate. As the trio ages, their ideals are tested, faded, or compromised, and their friendships strain under the weight of time, betrayal, and unmet expectations.
Finale: Regret, Memory, and Melancholy
In the end, the three friends meet again, older and more cynical, reflecting on what they’ve become. The closing sequence is both nostalgic and bitter, as they recognize the loss not just of their youth, but of their shared dream of a better world.
Movie Ending
The film ends with a poignant reunion of the trio. Each man has aged, both physically and ideologically. There’s no grand resolution, just an emotionally charged recognition of how far they’ve drifted from their youthful ideals. Nicola, still clinging to his beliefs, watches as Antonio and Gianni reflect in quieter, more subdued tones. The film closes on a note of wistful realism—a farewell to innocence and hope.
Are There Post-Credits Scenes?
No, there are no post-credits scenes. This is a 1970s Italian film deeply rooted in neorealistic and classic narrative structures—no cinematic universe teasers here. The ending itself is the emotional culmination of the story.
Type of Movie
This is a drama with strong elements of political satire, romance, and tragicomedy. It combines personal stories with social commentary, echoing the Italian neorealist tradition.
Cast
- Nino Manfredi as Antonio
- Vittorio Gassman as Gianni
- Stefania Sandrelli as Luciana
- Stefano Satta Flores as Nicola
- Aldo Fabrizi as Romolo Catenacci
- Gianni Rizzo as Lawyer
Film Music and Composer
The music is composed by Armando Trovajoli, whose score complements the emotional shifts and period atmosphere of the film. The music ranges from reflective and melancholic to light-hearted and ironic, much like the film’s tone.
Filming Locations
The movie was filmed in Rome, including iconic locations such as Piazza Venezia, Cinecittà Studios, and suburban areas reflecting different eras of post-war Italy. These settings were essential in highlighting the contrast between the characters’ dreams and the urban, sometimes decaying reality they inhabit.
Awards and Nominations
- Cannes Film Festival: Official Selection
- David di Donatello Awards: Won Best Director (Ettore Scola)
- Nastro d’Argento Awards: Best Screenplay, Best Actress (Sandrelli)
- Italian National Syndicate of Film Journalists: Multiple wins across major categories
This film is often cited among the best Italian films of all time.
Behind the Scenes Insights
- Scola co-wrote the script with Age & Scarpelli, legendary screenwriters known for Italian classics like Big Deal on Madonna Street.
- The film features several references to classic Italian cinema, including cameos and homages to Fellini and De Sica.
- Vittorio Gassman and Nino Manfredi improvised many of their scenes, creating a more natural flow of dialogue.
- The screenplay took nearly two years to develop due to its complex structure, weaving together three character arcs across three decades.
Inspirations and References
The film draws heavy inspiration from Italian neorealism, particularly films like Bicycle Thieves and La Terra Trema. It’s also a love letter to cinema itself, particularly in Nicola’s cinephilia and references to De Sica and Rossellini.
It reflects the disillusionment of the 1968 generation, those who saw their revolutionary hopes dissolve into political instability and consumerism.
Alternate Endings and Deleted Scenes
There are no known alternate endings. However, some scenes exploring Nicola’s teaching career in more depth were reportedly cut to tighten the narrative. These scenes would have added further political nuance but weren’t essential to the main plot.
Book Adaptations and Differences
The movie is not based on a novel, but it feels literary in structure and tone. The film was an original screenplay developed by Scola and his co-writers, though it often echoes the narrative depth of a novel.
Memorable Scenes and Quotes
Key Scenes
- Nicola losing his job after refusing to denounce his political beliefs
- Antonio’s heartbreak upon seeing Luciana with Gianni
- The trio watching Bicycle Thieves and breaking down in tears
- The final conversation, where the three reflect on what they’ve become
Iconic Quotes
- Nicola: “We believed in a better world. That was our mistake—we believed.”
- Antonio: “We all loved each other so much, didn’t we?”
- Gianni: “It’s not betrayal. It’s survival.”
Easter Eggs and Hidden Details
- The scene where the characters attend a screening of Bicycle Thieves is a metafictional nod to the neorealist movement.
- Scola subtly inserts real newsreel footage from different decades to mark the passage of time.
- A cameo by Vittorio De Sica (as himself) appears, connecting the film’s themes to the very origins of modern Italian cinema.
Trivia
- The title is a sarcastic twist on the typical sentimental expression, hinting at the film’s melancholic tone.
- Ettore Scola originally wanted to cast Marcello Mastroianni but chose Gassman due to scheduling conflicts.
- The script was used in Italian film schools as a model for narrative complexity.
- Luciana’s character was partially inspired by several real-life actresses and activists of the era.
Why Watch?
If you’re interested in Italian cinema, political history, or human drama, this film is a masterclass. It manages to blend humor, heartbreak, and intellectual depth into a seamless narrative. It’s not just a film—it’s a reflection on life, compromise, and the enduring hope that once brought people together.
Director’s Other Movies
- A Special Day (1977)
- The Family (1987)
- Le Bal (1983)
- Ugly, Dirty and Bad (1976)
- Splendor (1989)
Recommended Films for Fans
- The Best of Youth (2003)
- La Dolce Vita (1960)
- The Conformist (1970)
- Bicycle Thieves (1948)
- My Brother is an Only Child (2007)
- Cinema Paradiso (1988)
