Ferdinando e Carolina

IMDb RATING

YOUR RATING

On his deathbed in the 1820s, King Ferdinando I of Naples tries to escape the ghosts of his bloody kingship by remembering his younger days when he was allowed to go hunting, have fun, and i... Read allOn his deathbed in the 1820s, King Ferdinando I of Naples tries to escape the ghosts of his bloody kingship by remembering his younger days when he was allowed to go hunting, have fun, and invent love games. Then he was obliged to marry Maria Carolina of Austria, daughter of Empr... Read allOn his deathbed in the 1820s, King Ferdinando I of Naples tries to escape the ghosts of his bloody kingship by remembering his younger days when he was allowed to go hunting, have fun, and invent love games. Then he was obliged to marry Maria Carolina of Austria, daughter of Empress Maria Theresa, in a political marriage. They unexpectedly became happy lovers, until c... Read all

Director
- Lina Wertmüller
Writers
- Raffaele La Capria
- Lina Wertmüller
Stars

See production info at IMDbPro

IMDb RATING

6.0/10

405

YOUR RATING

Director
- Lina Wertmüller
Writers
- Raffaele La Capria
- Lina Wertmüller
Stars

See production info at IMDbPro

Awards
- 6 nominations

Photos

Storyline

Edit

Did you know

Edit

Trivia
Subtle humour for Italian-speakers does not translate well into the English subtitles. For example, the Austrian characters speak Italian with comical accents. A notable case is pronouncing "regina" (queen) with a hard g rather than the Italian soft g.

Goofs
Ferdinando Borbone was 8 years old in 1759, when he became King of Naples and Sicily. Adriano Pantaleo, who plays Ferdinando in this part of the movie, was 15 or 16 years old at the time of filming, and looks it.

Connections
Referenced in Dietro gli occhiali bianchi (2015)

User reviews4

Review

Featured review

Stylish historical romp is one of its director's best films.

The eighteenth century king of Naples lies dying and we trigger flashbacks of his life played as a bawdy romp.

Vintage Wertmuller - the handsomest film she has done with shuttered sun falling over palatial interiors and mobs of impressively costumed servants, courtesans and officials milling round the historical monuments and manicured lawns. The compressed form is remarkable, as when finally a cut puts the dying king's memory of the twenty year old naked Princess against a flash of her, aged, black veiled, long deceased, being dumped in the bed beside him. The women are presented gorgeously, juxtaposed with the comic, plain featured lead. The sinister side can just be spotted flashing by.

A lot of it needs more knowledge of Italian history than most viewers will bring to it - "Culture is the weapon that will return Naples to Spain."