1972 La Bella Antonia Prima Monica E Poi Dimonia HOT MOVIE
To spite her father, a young woman enters a convent. However, the woman's old boyfriend shows up and tries to win her back Edwige Fenech Piero Focaccia Riccardo Garrone
Category
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Short filmTranscript
00:00:00["La Mutanda Andà"]
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00:03:26Raffaello.
00:03:37["La Mutanda Andà"]
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00:04:12Welcome, sir.
00:04:16If you need to eat and sleep, I'm ready at your command.
00:04:19Well, maybe it's not the right time to eat.
00:04:22No, don't worry about it.
00:04:24Order and I'll serve you right away.
00:04:27In the meantime, I'll take this to your room.
00:04:29No, no, leave it. It's heavy.
00:04:31You are well adapted to the fatigue of love.
00:04:35How long have you been in Villa Santa?
00:04:42I don't know yet.
00:04:45But certainly until the harvest of the apples.
00:04:50What a rush!
00:04:52I was called from Rome to make a portrait of a young noblewoman.
00:04:58Are you a painter?
00:04:59I knew right away that you were a special man.
00:05:02And what noblewoman was she related to?
00:05:04She was the daughter of a man called Domenico Mencaglia.
00:05:07Do you know him?
00:05:08Yes, I know him. He's the owner of the village.
00:05:11So the portrait should be of Donna Antonia, his daughter.
00:05:14Oh, what an injustice!
00:05:16To make a portrait of her just because she's a noblewoman.
00:05:18You would deserve a sculpture.
00:05:21What should I do?
00:05:22Should I give you a chicken neck or should I make you a crab shell?
00:05:26A crab shell.
00:05:28A crab shell to bite slowly.
00:05:34Kill her, what a beautiful woman.
00:05:41Yes, but she also has a bad husband.
00:05:44Ariosto, I'm looking for you.
00:05:49Tomorrow morning, wait for you at Messer Domenico Mencaglia.
00:05:52You have a great need.
00:05:54Well, for the need of your master, you are looking for me?
00:05:57And what do I have to steal? My own ass?
00:05:59It's an important embassy, Bischero.
00:06:01You have to earn some money.
00:06:04But, I told you, good health.
00:06:08You are an important person.
00:06:10I know what that pig of Messer Domenico wants.
00:06:15Hey, it's not with me, you know.
00:06:17He likes to do it, but with the gendarmes.
00:06:34Forgive me, Antonia.
00:06:36I can't lose this cut of light.
00:06:39Messer, it's the fifth time in an hour that with the excuse of the cut of light you touch my ceilings.
00:06:44Yes, but without any malice.
00:06:46It's the touch of...
00:06:47Don't worry, you have nothing to fear.
00:06:49In this case, you are only an ambassador.
00:06:52He can't get his hands on you.
00:06:54And then he'll catch me red-handed.
00:06:56Come on, come on, let's not make tragedies.
00:06:58You know, you're not my man of trust.
00:07:00Yes, and I'm happy about that.
00:07:02But Nugondo is a ruffian, and Nugondo is a hitman.
00:07:05Don't worry, Ariosto.
00:07:07Messer Piccolomini won't even touch you with a finger.
00:07:12These coins will help you stay calm.
00:07:14Go, go, calm and trustful.
00:07:16And whatever happens, remember that I'm here.
00:07:20Here? But if I have to go there...
00:07:22Go, go, go, go.
00:07:30Come on.
00:08:01I swear to you, Madonna, believe me.
00:08:03Messer Domenico made me call for another business.
00:08:06Here.
00:08:07I have to deliver this message to Messer Piccolomini.
00:08:12A message for Messer Piccolomini?
00:08:15Wretched man, he said it and he did it.
00:08:18He will destroy the happiness of our daughter.
00:08:22My poor child.
00:08:30My poor child.
00:08:53Poor Antonia.
00:08:55So young and beautiful.
00:08:57She will have to give up her dream of love.
00:09:01Oh, my unfortunate, unhappy mother.
00:09:04Wicked wife.
00:09:06Calm down, Madonna, don't cry.
00:09:08With time and patience, everything will be fine.
00:09:13And what are you doing in my room?
00:09:15What do I know? You brought me here.
00:09:17Go away, you ugly, miserable worm.
00:09:20Get out right now.
00:09:27Antonia.
00:09:28Antonia.
00:09:29Fulco.
00:09:30Hey.
00:09:31Excuse me, but I was looking for you elsewhere.
00:09:34Yesterday you came dressed as a figure.
00:09:37Yes, but at the fair it is more comfortable.
00:09:40Antonia, you can't go to the fair like this.
00:09:43I'm sorry.
00:09:44I'm sorry.
00:09:45I'm sorry.
00:09:46I'm sorry.
00:09:47I'm sorry.
00:09:48I'm sorry.
00:09:49I'm sorry.
00:09:50I'm sorry.
00:09:51I'm sorry.
00:09:52I'm sorry.
00:09:53I'm sorry.
00:09:54I'm sorry.
00:09:55I'm sorry.
00:09:56I'm sorry.
00:09:57I'm sorry.
00:09:58I'm sorry.
00:09:59I'm sorry.
00:10:00I'm sorry.
00:10:01I'm sorry.
00:10:02Ah.
00:10:03Manuel.
00:10:04Dit...
00:10:05Ah.
00:10:06Ah.
00:10:07Ah.
00:10:08Thank you.
00:10:09Sorry.
00:10:10Sorry.
00:10:11Sorry.
00:10:12Thank you.
00:10:13I'm sorry.
00:10:14Sorry.
00:10:15Sorry.
00:10:16I'm sorry.
00:10:17I'm sorry.
00:10:19It's hard to keep her region a secret from me.
00:10:23Is.
00:10:24And look at this!
00:10:40Hey, what are you looking at?
00:10:41This is for gentlemen, not for poor people like you.
00:10:44Go, go, go to hell.
00:10:47Ariosto, come here, I want to offer you a drink.
00:10:51Why?
00:10:52Like this, I like it.
00:10:54And why do you have such a big ass that you didn't deserve it?
00:10:56Yes, you'll understand, I get those for charity.
00:10:59So, what's wrong?
00:11:00Mr. Piccolomini.
00:11:02And who is he?
00:11:03A son of a bitch.
00:11:04And what did he do to you?
00:11:05Nothing to me yet.
00:11:06So?
00:11:07He's a son of a bitch for what he's going to do to me soon.
00:11:09I don't understand you.
00:11:11You see, I have to bring a letter and I already know how it's going to end.
00:11:14The guy, like the law, gets angry, picks up a stick and breaks my arm, a leg and a spine.
00:11:19So he's a scoundrel, isn't he?
00:11:21I don't know about that.
00:11:22For me, he's a son of a bitch.
00:11:26Raffaele, Raffaele, wake up.
00:11:28Look what a beautiful thing I have.
00:11:30I know you have a beautiful thing, but you're a piece of shit.
00:11:33I'm talking about something else, Raffaele.
00:11:35Wake up.
00:11:36I should kiss the fat guy.
00:11:52Sometimes I think what life would be like if there were no women.
00:11:57Do you like women?
00:11:58What? I don't like them.
00:11:59Only that there are too many.
00:12:01Wives, for example, I would take them away.
00:12:03But you're married.
00:12:04Unfortunately, he made me say it at a time of weakness.
00:12:08I understand.
00:12:09Your wife is above and you are below.
00:12:11Oh no, I always put myself above.
00:12:16Here, I'll give it to you.
00:12:22Look what a beautiful thing.
00:12:24Your wife?
00:12:25Yes.
00:12:30I felt it when I met you.
00:12:32Me too.
00:12:33We're still waiting for you to bring us a piece of bread.
00:12:36Summer is good, don't worry.
00:12:38I'm with an important person.
00:12:39Are you sure?
00:12:40Another nice wanderer like you?
00:12:42These kids haven't eaten since last night.
00:12:44Shut up, damn it.
00:12:46Here, take it.
00:12:48Now we'll feed them.
00:12:49There are four Bolognese and tonight I'll bring you thieves.
00:12:52But who did you steal from?
00:12:54Shut up, don't make a bad face.
00:12:56You must believe that I know everything about you.
00:12:59Actually, now I'll give you a scene.
00:13:01As a joke, don't worry.
00:13:03And you pretend to apologize to me.
00:13:05Do you understand?
00:13:07And now go home right away.
00:13:10I don't take you to jail because I don't want to make a show.
00:13:14And don't ever face me on the street
00:13:17when I'm with a foreigner.
00:13:19Do you understand?
00:13:22Next time I'll give you a horse-drawn carriage
00:13:24that will put you to sleep for 15 months.
00:13:27Actually, for a good example, I'll give it to you right away.
00:13:30So we don't have to wait for the next time.
00:13:32Take it.
00:13:33Are you okay?
00:13:34Don't you want to go?
00:13:35I'll kill you.
00:13:38Do you want a hand?
00:13:41What are you doing?
00:13:42Get out of here.
00:13:43Get out of here.
00:13:45Stop.
00:13:48What a man.
00:13:52Now where do I go?
00:13:53Next to Don Landis.
00:13:59Sir Claudio Fornari is a painter of a clear reputation.
00:14:02And you should feel honored
00:14:04that I made his brush available to you.
00:14:06Still the brush of this craftsman?
00:14:08It seems that he is the only one.
00:14:10We are not here to discuss painting.
00:14:11Oh no?
00:14:12And what then?
00:14:13No, don't be stupid.
00:14:14Don't be stupid.
00:14:16You know very well that I love,
00:14:18in exchange, Messer Folco Piccolomini
00:14:20and that I want to be his wife.
00:14:21No.
00:14:22You will never be the wife of Folco Piccolomini
00:14:24because of the greed of his father,
00:14:26Messer Giovanni.
00:14:27Greed.
00:14:28He asked for a fair and adequate dowry.
00:14:30Adequate?
00:14:31A thousand gold shields.
00:14:32My daughter is an unparalleled beauty.
00:14:34Only her legs are worth 500 luna flowers.
00:14:36Become vulgar.
00:14:37Words.
00:14:38Silence.
00:14:39I don't mean to add a single flower to your adventure.
00:14:42This is your dowry.
00:14:44Look, father.
00:14:45If I can't marry Folco, I'll marry Monica.
00:14:47How?
00:14:48You understood well.
00:14:49I will enter the convent of the little sisters of pain.
00:14:52You.
00:14:53With that character of yours.
00:14:55With that desire to live that despises you from every pore.
00:14:57The little sisters of pain.
00:14:59But you wouldn't even last an hour
00:15:01with the little cousins of melancholy
00:15:03or with the little sisters-in-law of sadness.
00:15:05We'll see.
00:15:06I'll pray for you too.
00:15:09My Antonia is a sister of pain.
00:15:12A sister-daughter.
00:15:16Did you hear?
00:15:18Wise decision.
00:15:20Being a sister, I save the dowry
00:15:23and you earn the paradise.
00:15:29On the other hand, at this hour, Mr. Piccolomini,
00:15:31has received my missive, the marriage of Antonia and Folco.
00:15:35It's a closed argument.
00:15:37You think so?
00:15:39I will defend Antonia's happiness
00:15:41as long as I have the strength.
00:15:43I won't give you peace, know it.
00:15:50Hey, little house.
00:15:51Yes, vent, vent.
00:15:52I vent when I want, I want.
00:15:54But who is this girl?
00:15:56A new one?
00:15:57Poor pig.
00:15:58But it's really a mania.
00:16:03Your infusion of blueberries, sir.
00:16:05I hope it's as sweet as you want it.
00:16:07Thank you, dear, as I want it.
00:16:10May I know your name?
00:16:12It's not called.
00:16:13And without a name?
00:16:14Yes, because it goes away immediately.
00:16:16You will leave this house today.
00:16:18But...
00:16:19You can go.
00:16:20I said.
00:16:28If Antonia will earn paradise,
00:16:30I will prepare hell for you.
00:16:36Nothing.
00:16:58Who is knocking at this convent?
00:17:01It's me, Frate Pompo, Caterina.
00:17:03I have to confess right now.
00:17:06Ah, well said.
00:17:07But why are you in such a hurry?
00:17:09I committed a very serious sin.
00:17:11And my husband, Raffaello, told me to run to you.
00:17:14Good.
00:17:15Your zeal and that of your husband make you an honor.
00:17:18But I'm sorry, I don't have time now.
00:17:20Because the abbess of the convent is waiting for me.
00:17:23But she can wait.
00:17:24The abbess is a saint.
00:17:25It's me who has to put my conscience in place.
00:17:27I have the devil in my body.
00:17:29I have the devil in my body, Frate Pompo.
00:17:31Oh, witch, what kind of sin did you do?
00:17:33What did you say?
00:17:34I said.
00:17:35Oh, witch, what kind of sin did you commit?
00:17:38A terrible sin.
00:17:40I put on my underwear.
00:17:41Ah, the underwear.
00:17:42Underwear.
00:17:43Underwear.
00:17:44I don't understand.
00:17:45What is it?
00:17:46A hat?
00:17:47More than a hat.
00:17:49Underwear is an instrument of...
00:17:51Festivals.
00:17:52But...
00:17:53Raffaello also told me.
00:17:54But I swear I don't wear them anymore.
00:17:56I don't know.
00:17:57Can you tell me what these blessed underwear are?
00:17:59You don't know them.
00:18:01They are a kind of men's underwear.
00:18:03I took it and I put it underneath.
00:18:06Underneath?
00:18:07But underneath where?
00:18:08Here.
00:18:11I put them here and I put everything on paper.
00:18:13In front and behind.
00:18:17You put everything on paper in front and behind?
00:18:19And up to where?
00:18:20Here.
00:18:21They started almost from the feet.
00:18:23And they got up to here.
00:18:25Like men's underwear.
00:18:26They got up to there.
00:18:28And all this was uncovered.
00:18:30No, no.
00:18:31They also covered this.
00:18:32This too?
00:18:33Up to half?
00:18:34Everything, everything.
00:18:35Up to here.
00:18:36Everything?
00:18:37But blessed power.
00:18:38Is it serious?
00:18:39Very serious.
00:18:40It takes holy water from all sides.
00:18:42Here, here, here, here.
00:18:44But you, covering all this grace of God,
00:18:46you took mother nature's slaps.
00:18:48What a sacrilege.
00:18:49Don't scare me, brother Pompo.
00:18:51Confess to me right away.
00:18:52Go closer to the Mother of God.
00:18:54The Mother of God will now wait.
00:18:55But here we need a long penance.
00:18:56Very long.
00:18:57I have to make a nice confession.
00:18:59Come here.
00:19:00Put yourself comfortable.
00:19:01Put yourself in peace and with conscience.
00:19:04I have to consecrate you all this rotten stuff.
00:19:07Come on, brava.
00:19:09Untie yourself.
00:19:10Abandon yourself faithfully.
00:19:11And above all, don't be in a hurry.
00:19:13Raffaello told me that too.
00:19:15You'll see how many times brother Pomporio
00:19:16will make you kiss the gourd.
00:19:17I saw right that holy man.
00:19:19Kiss, kiss.
00:19:20Blessed.
00:19:21Do I start kissing from here?
00:19:23Kiss, kiss.
00:19:24Then I'll tell you when you have to make the shot.
00:19:29Brother Pompom, what are you doing to me?
00:19:31Peace, Satan.
00:19:32If I stab, I stab.
00:19:33If I sin, I sin.
00:19:35If the penance starts, it's for me, witch.
00:19:37But then I'm happy.
00:19:38With this gourd of sword, I was already listening.
00:19:40Make yourself comfortable, brother Pompom.
00:19:54..
00:20:01Well, well, well, well.
00:20:04We begin with the butt.
00:20:06No, the butt, no.
00:20:07Viscount John is excellent.
00:20:09Don't touch my butt.
00:20:10Who understood.
00:20:12Restaurant waiter meant to say, accommodate us.
00:20:15The butt, am I right?
00:20:17You say it very well.
00:20:18For the rest there's time later,
00:20:20please.
00:20:23And so that... that fool of Messer Mencaglia refuses to give his daughter's hand in marriage.
00:20:30And in this way he sends this marriage to the air.
00:20:33And you, you miserable scoundrel, dare to be the owner of this... of this message.
00:20:38But... but you know what they call you in these lands?
00:20:42I know, but I don't say it.
00:20:44Say it.
00:20:46Say it.
00:20:47What do they call you?
00:20:48Rumpicoglioni.
00:20:50Exactly.
00:20:52Exactly.
00:20:55And now I will break yours too.
00:20:58With this hammer I will crush you like two walnuts.
00:21:01Messer.
00:21:02Mercy.
00:21:03A gentleman of your stature can't just hit a servant, a fool, a miserable.
00:21:10And who is he?
00:21:12What do you want?
00:21:14To face your anger in the place of this servant.
00:21:17As you please.
00:21:19You would have wanted it.
00:21:35Don't break my balls.
00:21:37Ugly, unaccustomed.
00:21:39I have told you many times that you must say, don't break my boxes.
00:21:43Please.
00:21:44Messer, have mercy.
00:21:46Please.
00:21:48Please, Messer, don't break my balls.
00:21:50Please.
00:21:51It was a pleasure to meet you, Messer Piccolomini.
00:21:54Young...
00:21:56Young man, one moment.
00:21:58What is your name?
00:21:59Claudio Fornari, from Rome.
00:22:01Listen, it's a lot that I'm looking for one of your temper.
00:22:04Do you want to become captain of my guards?
00:22:06Thank you, but I can't.
00:22:07No?
00:22:08I hate weapons and violence.
00:22:10My job is that of the painter.
00:22:12Indeed, I will tell you that these paintings are going bad.
00:22:15So, you should have them restored.
00:22:17Good, good.
00:22:18Listen, I have a very large fresco in my bedroom,
00:22:21to which I owe a lot.
00:22:22Do you want to come and see it?
00:22:27I'm going to work.
00:22:28Who? Me?
00:22:29Not so much.
00:22:30But I'm with you, I'm ready for all the sacrifices.
00:22:34Okay.
00:22:35Can I see this fresco?
00:22:36Yes, of course.
00:22:37Please come, I'll take you right away.
00:22:39Messer, I'll show you the way, please.
00:22:42Let's take this one.
00:22:45Thank you.
00:23:01Giovanni, what are you doing?
00:23:03Sorry, dear, I didn't imagine you were like this.
00:23:06I'm in my room.
00:23:07Yes, yes, now I'll explain.
00:23:09This gentleman is an artist, you don't have to worry about him.
00:23:13And this one?
00:23:14And this one?
00:23:18And this is a scoundrel!
00:23:19Get out!
00:23:20Get out!
00:23:22What are you looking at?
00:23:23My wife!
00:23:24With those greasy eyes!
00:23:27Broken to pieces!
00:23:35So, as I told you, the gentleman is a painter who comes from Rome.
00:23:38I decided to entrust him with the restoration of our frescoes,
00:23:41and I think you agree.
00:23:42Yes, dear, although I don't really like the idea of having painters around the house.
00:23:47We just finished ten days ago.
00:23:49With the plasterer?
00:23:50Yes, yes, but our friend Claudio Fornari is a master,
00:23:53he knows where to put the brush and the colors.
00:23:57Do you want to see our fresco?
00:23:59Please, master, please.
00:24:03This is the fresco I told you about before.
00:24:13It's very ruined.
00:24:14It's enough.
00:24:15It will take a long and patient work.
00:24:18I'm sorry for you, Madonna.
00:24:20Madonna?
00:24:21Hippolyta.
00:24:22My wife's name is Hippolyta.
00:24:25The name of the queen of the Amazons.
00:24:27Yes, the one who fought against Hercules when he conquered Rome.
00:24:31Yes, that's right.
00:24:32I'm sorry for you, Madonna.
00:24:34Hippolyta.
00:24:35My wife's name is Hippolyta.
00:24:37The name of the queen of the Amazons.
00:24:39Yes, the one who fought against Hercules when he stole her belt.
00:24:44Out of chastity?
00:24:46I don't think so.
00:24:48And who won?
00:24:49The queen of the Amazons.
00:24:52Yes, but Hercules kept the belt.
00:24:56Wouldn't it be the case now to talk about our frescoes, master?
00:24:59Master?
00:25:00When do you intend to start?
00:25:02Even tomorrow.
00:25:04From the armory?
00:25:05No, the bedroom is more urgent.
00:25:08I hope you're not a morning person.
00:25:11Don't you want to throw me out of bed at dawn?
00:25:15There would be something else missing, Madonna.
00:25:17I start working around noon.
00:25:24Magnificent.
00:25:25Work of Master Panzirocchi of Verona.
00:25:28It cost me 40 silver fiorini.
00:25:31If I missed it, I couldn't sleep in my bed anymore.
00:25:35They are now part of our nights.
00:25:39Isn't that right, Hippolyta?
00:25:42Please, master, please.
00:25:49Madonna.
00:25:51Master, please.
00:26:06All right?
00:26:07Who pays?
00:26:08Me.
00:26:11Two.
00:26:24Cheers.
00:26:25Cheers.
00:26:32Ah, Noe.
00:26:33That's enough for today.
00:26:35What's wrong?
00:26:36This is the women's area.
00:26:38You can't meet your wife on the same day.
00:26:56Hey, Master.
00:26:58Master.
00:27:01Did you forget your hat in the armory?
00:27:04Yes, it fell on the battlefield.
00:27:07Thank you, beautiful girl.
00:27:09I'm sorry to have caused you this trouble.
00:27:12It was a pleasure for me.
00:27:14A great pleasure.
00:27:15Forgive me.
00:27:16Is it true that from tomorrow you will start working at the house of Master Piccolomini?
00:27:19Yes.
00:27:20To refresh the room of Madonna Hippolyta.
00:27:22Are you sorry?
00:27:25Yes.
00:27:29Would you like me to refresh your bed too?
00:27:32Oh, yes, sir.
00:27:34But I'm a poor girl.
00:27:36I can't ask you much.
00:27:38Who said that?
00:27:41A good artist refreshes where he finds.
00:27:55THE END
00:28:25© BF-WATCH TV 2021
00:28:55© BF-WATCH TV 2021
00:29:25© BF-WATCH TV 2021
00:29:55© BF-WATCH TV 2021
00:30:25© BF-WATCH TV 2021
00:30:30© BF-WATCH TV 2021
00:30:35© BF-WATCH TV 2021
00:30:40© BF-WATCH TV 2021
00:30:45© BF-WATCH TV 2021
00:30:50© BF-WATCH TV 2021
00:30:55© BF-WATCH TV 2021
00:31:00© BF-WATCH TV 2021
00:31:05© BF-WATCH TV 2021
00:31:10© BF-WATCH TV 2021
00:31:15© BF-WATCH TV 2021
00:31:20© BF-WATCH TV 2021
00:31:25© BF-WATCH TV 2021
00:31:30© BF-WATCH TV 2021
00:31:35© BF-WATCH TV 2021
00:31:40© BF-WATCH TV 2021
00:31:45© BF-WATCH TV 2021
00:31:50© BF-WATCH TV 2021
00:31:55© BF-WATCH TV 2021
00:32:00© BF-WATCH TV 2021
00:32:05It's not right.
00:32:09It's not right.
00:32:16It's not right.
00:32:22The meeting is over.
00:32:24Ah, thank goodness.
00:32:26Now I'm going to...
00:32:28But how?
00:32:29You're already leaving?
00:32:31I've had a bad day.
00:32:33I can't wait to go to bed.
00:32:35I was counting on your company tonight.
00:32:39I wanted to pray with you in my cell.
00:32:41I'm really sorry, but tonight I feel all broken.
00:32:45But, Fr. Pomporio, one hour.
00:32:47One hour is enough.
00:32:49It's only right to pray for the poor dead.
00:32:52Believe me, I wouldn't even do it for those
00:32:55because I already feel half dead.
00:32:57Well, well.
00:32:59As I said, but going out,
00:33:01can you do me a favor?
00:33:03Well, yes, if I can.
00:33:05So, Fr. Guardiano, no.
00:33:07Fr. Campanaro, no.
00:33:09Fr. Cuoco, not even.
00:33:11Here!
00:33:13Filippuccio, the gardener, did you know him?
00:33:15Yes, I know him, I know him.
00:33:17Well, then, ask him to come to me.
00:33:20Tell him to come to my cell.
00:33:22I'll pray for the poor dead with him.
00:33:25Excellent idea.
00:33:27I'll send him right away.
00:33:47Good night.
00:33:49Good night.
00:34:17Good night.
00:34:47Good night.
00:35:17Good night.
00:35:32Ah, Fr. Filippuccio!
00:35:36Hey, Fr. Filippuccio!
00:35:39Listen, Fr. Filippuccio.
00:35:41Ah, it's you, Fr. Pomporio.
00:35:43What's the matter?
00:35:45Do you miss the spirit now?
00:35:47No, but why?
00:35:49I'm here at this time, in this place,
00:35:51and I'm a little surprised.
00:35:53Well, good.
00:35:55You're even more surprised because I'm coming
00:35:57to look for you.
00:35:59Ah, me?
00:36:01Hey, Fr. Pomporio, stay still with your hands.
00:36:03But what do I understand?
00:36:05I'm trying to tell you that the abbess wants you
00:36:07in her cell.
00:36:09The abbess?
00:36:11No, how can I do that?
00:36:13Ah!
00:36:17Ah!
00:36:37Oh!
00:36:43Oh!
00:37:13Ah, let's forget about the abbess.
00:37:15With all the life that exists in this convent,
00:37:17I'm the only one left
00:37:19to pray for the souls
00:37:21of your dead.
00:37:23And your grandfather.
00:37:25Why not?
00:37:33You'll see that you won't lose anything.
00:37:35You have to be good without talking,
00:37:37and do what you want.
00:37:39I've told you ten times,
00:37:41when will you give it to me?
00:37:43Right away! What are you afraid of?
00:37:45Of nothing. Just give it to me before you put it on.
00:37:47And now get ready, it's about to arrive.
00:37:49Maybe.
00:37:51But I don't understand this crown thing.
00:37:53Why do I have to put it on?
00:37:55I don't know, he calls it extravagance,
00:37:57but for me it's bullshit.
00:37:59Come on, Gocca, put it down.
00:38:01Oh!
00:38:31Mm-hmm.
00:39:01Isn't there a way to get out of here?
00:39:31Messiere.
00:40:01Prima, madonna.
00:40:03Voglio concludere entro stanotte.
00:40:05Siete presuntuoso, vi state sopravvalutando.
00:40:07L'ha detto vostro marito.
00:40:09So quello che voglio.
00:40:11Volere non basta.
00:40:13Occorrono le circostanze favorevoli.
00:40:15Le circostanze si creano.
00:40:17Bravo, bravo.
00:40:19Un uomo che parla come voi
00:40:21arriva immancabilmente al traguardo.
00:40:23Grazie, messiere.
00:40:25Spero di non deludervi.
00:40:27Ah, siete qui.
00:40:29Vi stavo cercando per tutta la casa.
00:40:31Sei di partenza, figliolo?
00:40:33Sì, ho deciso di allontanarmi
00:40:35da Villa Santa per qualche tempo.
00:40:37Credo di saperne il motivo, Fulco.
00:40:39E non vi ingannate.
00:40:41Però vi prego di non ostacolarmi.
00:40:43Scommetto che si tratta di Antonia.
00:40:45È tutta colpa di quel buffone di suo padre.
00:40:47Padre, ogni recriminazione è inutile.
00:40:49Antonia ha scelto la clausura
00:40:51ed entra in convento.
00:40:53Quando?
00:40:55Oggi.
00:40:57La presione è irrevocabile.
00:40:59Per questo io ho deciso di partire.
00:41:01Che dramma.
00:41:03Madre, voglio la vostra benedizione.
00:41:07Su, Fulco, ragioniamo.
00:41:09Vieni nel mio studio.
00:41:11Vi scongiuro, lasciatemi partire.
00:41:13Ma sì, nessuno te lo impedisce.
00:41:15Voglio solo sapere dove diavolo vuoi andare.
00:41:19Vieni, Fulco, vieni.
00:41:21Povero giovinotto.
00:41:23Ma chi sa dove va?
00:41:25A rompersi le corna.
00:41:27Chi ha conosciuto la bella Antonia
00:41:29non può dargli torto.
00:41:31Deve essere follemente innamorato.
00:41:33Io mi allontano per un paio d'ore.
00:41:35Finisci di mescolare le tinte
00:41:37e poi sei libero pure tu.
00:41:39Magari, come finisco qua
00:41:41mi tocca correre da Messerme in Gaia.
00:41:43Oggi c'è stato un brindisi in onore
00:41:45della figlia che si è fatta Monica.
00:41:47Ah, già, l'hanno invitata pure a te.
00:41:49Sembra lo primo, magari come servitore aggiunto.
00:42:17Messere, messere.
00:42:18Avete proprio deciso di partire?
00:42:20Quello che ho deciso non riguarda voi.
00:42:22Vi vorrei aiutare perché mi siete simpatico.
00:42:24Non mi serve l'aiuto di nessuno.
00:42:26Siete un romantico.
00:42:27Forse la vostra è l'ultima storia d'amore del secolo
00:42:29e io la vorrei salvare.
00:42:31Ascoltatemi, vi voglio suggerire un piano.
00:42:33A me?
00:42:34Sì.
00:42:48E' il tuo primo e intimo colloquio con la religione.
00:43:07Medita sulla nuova vita che ti attende
00:43:09e cerca di liberarti da ogni tentazione.
00:43:13Verrò a riprenderti fra cinque ore, figliuola.
00:43:18Ciao.
00:43:34Ma Fulco Piccolomini l'amava davvero?
00:43:36Sì, era tutto pronto per le nozze.
00:43:38Poi all'improvviso Antonio...
00:43:40Cos'è successo veramente?
00:43:42Non si sa.
00:43:44Ha detto ai suoi che voleva farsi monaca.
00:43:47Su, domicilio, avevi un goccio tirato in su.
00:43:49Abbiamo ospiti di riguardo, no?
00:43:50Madonna Lisa, Madonna Beatrice.
00:43:52Già, tu non sei contento se non mi fai venire le madonne.
00:43:55Dai, che oggi è una gran festa.
00:43:57Oggi è la condanna a morte di mia figlia.
00:43:59Mi prego, stanno arrivando gli ospiti.
00:44:17Scusatemi.
00:44:48Lo vedi, quello giovane ancella.
00:45:01Tutto, tutto quello che vuole.
00:45:03Vai, vai.
00:45:11Non ti disturbo più, mia cara.
00:45:13Fa come vuoi.
00:45:15Anche se non scenderai fra gli ospiti,
00:45:17non ti porterò il broncio contento.
00:45:44Non lo difendere, Ippolita.
00:45:47Ha trasgredito i miei ordini e questa la dovrà pagare.
00:45:50Ma no, no, non lo stavo difendendo.
00:45:56Io dicevo che vostro figlio deve essere veramente innamorato di quella ragazza.
00:46:01Ma non è una buona ragione per abbandonare la casa
00:46:03e andarsene chissà dove.
00:46:05Si è comportato come una femminuccia.
00:46:07E sai che ti dico?
00:46:08Era lui che doveva andare in convento.
00:46:14Scusami.
00:46:44Scusami.
00:47:14Scusami.
00:47:45Chi sei?
00:47:46Che cosa fai nella mia cella?
00:47:56Antonia.
00:47:58Volco.
00:48:00Antonia.
00:48:05Amore mio, adesso o mai più?
00:48:07Adesso, adesso.
00:48:10Ah Giuseppa, ma ti vuoi sbrigare?
00:48:12M'arrivo a messare domenica e tu non sei ancora apparecchiata.
00:48:19Non sono un fantasma.
00:48:24E giuro che ti cavo gli occhi se dici una sola parola, capito?
00:48:30Che squallore.
00:48:34E che puzza.
00:48:36Allora, che devo fare?
00:48:38Dove mi devo mettere?
00:48:39Lì.
00:48:42Sulla paglia?
00:48:43Si.
00:48:44A pangia sotto e con la gorungina degli fiori.
00:48:49Ma, ma questa è troppo larga per metterla.
00:48:52Si, si.
00:48:53Non è troppo larga.
00:48:56Ma, ma questa è troppo larga per mettermela in testa.
00:48:59Ma non dovete metterla in testa.
00:49:01Ah no?
00:49:02Eh no.
00:49:03E dove?
00:49:04E mo' arriva a messare domenica e ve lo dici io su dove.
00:49:08Ma ne siete ben certo.
00:49:10Come lo avete saputo?
00:49:12Si è confidato con me prima di partire.
00:49:14Vi confermo che vostro figlio Volco è là.
00:49:17Che scandalo.
00:49:20E senza contare poi il sacrilegio.
00:49:22Perchè quei due sciagurati avranno anche profanato quel luogo sacro.
00:49:26Se fossi al posto vostro non perderei altro tempo.
00:49:29E' vero.
00:49:30Perchè non mi accompagnate?
00:49:31Oh messire, vi prego.
00:49:33Io sono uno straniero.
00:49:34Non appartengo mica alla vostra barrocchia.
00:49:36E' vero.
00:49:53Chi è?
00:49:54E' l'ora della preghiera, sorella Antonia.
00:49:56Devi scendere nella cappella.
00:50:01Sorella Antonia, ti aspettiamo in cappella.
00:50:04Non preoccupatevi per me.
00:50:06Mi sono fatta qui una cappellina privata.
00:50:10Su, non perdere la calma.
00:50:12Ricordati che si tratta di nostro figlio.
00:50:14Avrà una lezione che se la ricorderà per tutta la vita.
00:50:17Ti prego, Giovanni.
00:50:18Ti prego, Giovanni.
00:50:34Ma guarda un po' tu.
00:50:39Che me doveva da capitano.
00:50:49Allora, tutto a posto?
00:50:51E' come se il domenico io...
00:50:52Bravo, bravo, a volte mi domando come farai senza di te.
00:50:54Io sto contento, ma stavolta vorrebbe...
00:50:56Questa volta abbiamo beccato la più buona.
00:50:58Ne siete sicuro?
00:50:59Ho l'occhio fino, caro Ariosto.
00:51:00Ma adesso non farmi perdere più tempo.
00:51:18Aia!
00:51:19No, no, no!
00:51:21No!
00:51:22Trattore!
00:51:23No, no, ferma!
00:51:24Ferma, domicilla!
00:51:25Oh, cavaiole!
00:51:26Domicilla!
00:51:27Ti farò passare io il vizio!
00:51:29No, il forcone, no!
00:51:30Perdonai!
00:51:31No, no, no!
00:51:32Ma dov'è che se te lo farà passare?
00:51:34Oh, no, mi fai male!
00:51:35Scalzone!
00:51:36Sarocastro!
00:51:37Sarocastro, domicilla!
00:51:38Saro...
00:51:39Saro...
00:51:40Saro...
00:51:41Saro...
00:51:42Saro...
00:51:43Saro...
00:51:44Saro...
00:51:45Saro...
00:51:46Saro...
00:51:47Saro...
00:51:48Saro federale...
00:51:49No!
00:51:50No!
00:51:51Oh!
00:51:52Oh!
00:51:53Oh!
00:51:54Oh!
00:51:55Oh!
00:51:56Ay!
00:51:57Heheheheheeheheheh!
00:51:58I'm going to be late for work.
00:51:59I'm going to be late for work.
00:52:00I'm going to be late for work.
00:52:01I'm going to be late for work.
00:52:02I'm going to be late for work.
00:52:03I'm going to be late for work.
00:52:04I'm going to be late for work.
00:52:05I'm going to be late for work.
00:52:06I'm going to be late for work.
00:52:07I'm going to be late for work.
00:52:08I'm going to be late for work.
00:52:09I'm going to be late for work.
00:52:10I'm going to be late for work.
00:52:11I'm going to be late for work.
00:52:12I'm going to be late for work.
00:52:13I'm going to be late for work.
00:52:14I'm going to be late for work.
00:52:15I'm going to be late for work.
00:52:16I'm going to be late for work.
00:52:17I'm going to be late for work.
00:52:18I'm going to be late for work.
00:52:19I'm going to be late for work.
00:52:20I'm going to be late for work.
00:52:21I'm going to be late for work.
00:52:22I'm going to be late for work.
00:52:23I'm going to be late for work.
00:52:24I'm going to be late for work.
00:52:25I'm going to be late for work.
00:52:26I'm going to be late for work.
00:52:27I'm going to be late for work.
00:52:28I'm going to be late for work.
00:52:29I'm going to be late for work.
00:52:30I'm going to be late for work.
00:52:31I'm going to be late for work.
00:52:32I'm going to be late for work.
00:52:33I'm going to be late for work.
00:52:34I'm going to be late for work.
00:52:35I'm going to be late for work.
00:52:36I'm going to be late for work.
00:52:37I'm going to be late for work.
00:52:38I'm going to be late for work.
00:52:39I'm going to be late for work.
00:52:40I'm going to be late for work.
00:52:41I'm going to be late for work.
00:52:42I'm going to be late for work.
00:52:43I'm going to be late for work.
00:52:44I'm going to be late for work.
00:52:45I'm going to be late for work.
00:52:46I'm going to be late for work.
00:52:47I'm going to be late for work.
00:52:48I'm going to be late for work.
00:52:49I'm going to be late for work.
00:52:50I'm going to be late for work.
00:52:51I'm going to be late for work.
00:52:52I'm going to be late for work.
00:52:53I'm going to be late for work.
00:52:54I'm going to be late for work.
00:52:55I'm going to be late for work.
00:52:56I'm going to be late for work.
00:52:57I'm going to be late for work.
00:52:58I'm going to be late for work.
00:52:59I'm going to be late for work.
00:53:00I'm going to be late for work.
00:53:01I'm going to be late for work.
00:53:02I'm going to be late for work.
00:53:03I'm going to be late for work.
00:53:04I'm going to be late for work.
00:53:05I'm going to be late for work.
00:53:06I'm going to be late for work.
00:53:07I'm going to be late for work.
00:53:08I'm going to be late for work.
00:53:09I'm going to be late for work.
00:53:10I'm going to be late for work.
00:53:11I'm going to be late for work.
00:53:12I'm going to be late for work.
00:53:13I'm going to be late for work.
00:53:14I'm going to be late for work.
00:53:15I'm going to be late for work.
00:53:16I'm going to be late for work.
00:53:17I'm going to be late for work.
00:53:18I'm going to be late for work.
00:53:19I'm going to be late for work.
00:53:20I'm going to be late for work.
00:53:21I'm going to be late for work.
00:53:22I'm going to be late for work.
00:53:23I'm going to be late for work.
00:53:24I'm going to be late for work.
00:53:25I'm going to be late for work.
00:53:26I'm going to be late for work.
00:53:27I'm going to be late for work.
00:53:28I'm going to be late for work.
00:53:29I'm going to be late for work.
00:53:30I'm going to be late for work.
00:53:31I'm going to be late for work.
00:53:32I'm going to be late for work.
00:53:33I'm going to be late for work.
00:53:34I'm going to be late for work.
00:53:35I'm going to be late for work.
00:53:36I'm going to be late for work.
00:53:37I'm going to be late for work.
00:53:38I'm going to be late for work.
00:53:39I'm going to be late for work.
00:53:40I'm going to be late for work.
00:53:41I'm going to be late for work.
00:53:42I'm going to be late for work.
00:53:43I'm going to be late for work.
00:53:44I'm going to be late for work.
00:53:45I'm going to be late for work.
00:53:46I'm going to be late for work.
00:53:47I'm going to be late for work.
00:53:48I'm going to be late for work.
00:53:49I'm going to be late for work.
00:53:50I'm going to be late for work.
00:53:51I'm going to be late for work.
00:53:52I'm going to be late for work.
00:53:53I'm going to be late for work.
00:53:54I'm going to be late for work.
00:53:55I'm going to be late for work.
00:53:56I'm going to be late for work.
00:53:57I'm going to be late for work.
00:53:58I'm going to be late for work.
00:53:59I'm going to be late for work.
00:54:00I'm going to be late for work.
00:54:01I'm going to be late for work.
00:54:02I'm going to be late for work.
00:54:03I'm going to be late for work.
00:54:04I'm going to be late for work.
00:54:05I'm going to be late for work.
00:54:06I'm going to be late for work.
00:54:07I'm going to be late for work.
00:54:08I'm going to be late for work.
00:54:09I'm going to be late for work.
00:54:10I'm going to be late for work.
00:54:11I'm going to be late for work.
00:54:12I'm going to be late for work.
00:54:13I'm going to be late for work.
00:54:14I'm going to be late for work.
00:54:15I'm going to be late for work.
00:54:16I'm going to be late for work.
00:54:17I'm going to be late for work.
00:54:18I'm going to be late for work.
00:54:19I'm going to be late for work.
00:54:20I'm going to be late for work.
00:54:21I'm going to be late for work.
00:54:22I'm going to be late for work.
00:54:23I'm going to be late for work.
00:54:24I'm going to be late for work.
00:54:25I'm going to be late for work.
00:54:26I'm going to be late for work.
00:54:27I'm going to be late for work.
00:54:28I'm going to be late for work.
00:54:29I'm going to be late for work.
00:54:30I'm going to be late for work.
00:54:31I'm going to be late for work.
00:54:32I'm going to be late for work.
00:54:33I'm going to be late for work.
00:54:34I'm going to be late for work.
00:54:35I'm going to be late for work.
00:54:36I'm going to be late for work.
00:54:37I'm going to be late for work.
00:54:39And after the evening,
00:54:40who is inside, is inside,
00:54:41and who is outside, is outside.
00:54:42Inside, outside.
00:54:44I just ask you to let me do an inspection.
00:54:46But sir, this is against the rules.
00:54:48Forgive me, Mother Badessa,
00:54:50but what kind of veil have you put on your head?
00:54:53Veil?
00:54:55But what are you saying?
00:55:00Filippuccio's underwear.
00:55:02Whose underwear?
00:55:03The gardener's brother.
00:55:06I've always suspected it.
00:55:09This is not a convent.
00:55:11It's a mess.
00:55:24I was expecting you.
00:55:30Mamma mia.
00:55:33I was expecting you.
00:55:36I was expecting you.
00:55:43I wasn't expecting this.
00:55:45Two monks in the same cell.
00:55:47There must be a mistake.
00:55:51Antonia, it's you.
00:55:53Where is my son?
00:55:54Please, sir,
00:55:56don't disturb my collection.
00:56:00Nice collection.
00:56:01I told you.
00:56:03Nice collection.
00:56:04You keep company in the cell, huh?
00:56:07If Folco knew.
00:56:09Enough, Father, Folco knows.
00:56:14Fufu.
00:56:16Fufu.
00:56:34Eat, eat, brothers.
00:56:37Courage.
00:56:39April comes in May.
00:56:41Come on, come on.
00:56:43Drink, drink.
00:56:47All right, I want some.
00:56:49To you.
00:56:51Long live the brides.
00:57:03Long live the brides.
00:57:15Cossia is always Cossia.
00:57:26Bravo, bravo, continue.
00:57:29A young boy, splendid.
00:57:32Splendid.
00:57:42Long live the brides.
00:57:44Long live.
00:57:46Long live the brides.
00:57:48The little monkey.
00:57:51Long live the monkey.
00:57:53Antonia.
00:57:55Yeah.
00:58:02Donna domicile, non vi sedete?
00:58:04Vorrei, ma credo che non potro prima di 5 o 6 giorni.
00:58:07Come mai? Un voto di ringrassiamento?
00:58:09Oh, no. Una piccola discussione con mio marito.
00:58:15Si è convinto che quello che cercava fuori casa
00:58:17l'aveva proprio qui, a portata di mano.
00:58:21Guardo. Vedo.
00:58:22All right.
00:58:25Happy salsa!
00:58:27Here he comes.
00:58:28Here he comes.
00:58:29Hey, I got you.
00:58:30Here I go.
00:58:49Hey, bust it.
00:58:50Bust it.
00:58:51Oh, no.
00:58:52I can't open it.
00:58:52Yeah, you're right.
00:58:57All right.
00:59:16Don't you want to make a scandal for so little?
00:59:18And you call it little?
00:59:20Modestly, I can do more.
00:59:25Ariosto!
00:59:28Let's make another toast.
00:59:33Me?
00:59:34Yes, don't waste time.
00:59:37So, sir, I'm ready.
00:59:39Ready for what, dear?
00:59:41My portrait, my dear.
00:59:43Don't forget you gave the order to Mr. Fornari to draw me on the wedding day.
00:59:47But...
00:59:52Yes, it's true, but...
00:59:54Right in the middle of the wedding banquet.
00:59:56You see, the fact is that I have to take advantage of the last favorable light.
01:00:01But of course, Cucullo.
01:00:03Besides, you can see me from the window.
01:00:05We'll do a little thing on foot, at dawn.
01:00:07Isn't that right, Mr. Fornari?
01:00:09As you wish, Madonna.
01:00:12All right, dear, but let me see you at least from the window.
01:00:15Don't worry.
01:00:20Father, I'm jealous because I know how to please her.
01:00:23But I could send her in the middle of a battalion of mercenaries that would never cheat on me.
01:00:27We know, we know that you are a lucky husband.
01:00:30Yes.
01:00:36Let's see, father.
01:00:46Come, come.
01:00:48Come.
01:00:53Cheers.
01:00:58Hey, hurry up, you two, damn it.
01:01:02We're just at the first stroke of the brush.
01:01:10Hey, so?
01:01:12Good.
01:01:23You have a present too, father.
01:01:30How long is this portrait?
01:01:32Oh, poor Antonia.
01:01:34It's been standing there for over an hour and a half.
01:01:37Art has its needs.
01:01:42Cheers.
01:01:43Cheers.
01:01:52Hey, do you want her, Piantano?
01:01:55I can't stand it anymore.
01:01:57I don't feel my feet, my legs, my arms anymore.
01:02:09Hey, but...
01:02:10At this time, a normal painter would have freshened up the whole Sistine Chapel.
01:02:15You can see that he had to do the last touch-up.
01:02:18Now...
01:02:21I'm going to get my wife back.
01:02:24Here.
01:02:26Antonia!
01:02:28Antonia!
01:02:30He wasn't armed, was he?
01:02:31He was armed, yes.
01:02:32The only bad luck is that he was drunk.
01:02:36Come back soon, Mr. Claudio.
01:02:38You've left us a nice memory.
01:02:40We won't forget it.
01:02:42We'll see each other again.
01:02:43I'm going to Milan and I'll be right back.
01:02:45You really have to go to Milan?
01:02:47Yes, my friend.
01:02:48In that city, there's a lot of money.
01:02:50I want to get rich too.
01:02:51Okay, but come back soon.
01:02:53I'll wait for you.
01:02:54Yes, I'll be back.
01:02:55Don't worry.
01:02:56In Milan, there will be a lot of money.
01:02:58But here, in Villa Santa, there are beautiful women.
01:03:01Sorry, woman, but...
01:03:03Don't worry, Ariosto.
01:03:05For every bird, the sound is beautiful.
01:03:08Really?
01:03:09Then I'll cut it.
01:03:33Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda! Mutanda
01:04:03La mutanda andà, la mutanda andà, la mutanda, la mutanda, la mutanda andà
01:04:10Non ne so capito bene, che cos'è sta novità
01:04:19E nel cuore del trecento, quando passa una madonna
01:04:23Se c'è un vortice di vento, che fa alzare la sua gonna?
01:04:27Come guarda, guarda, guarda e si domanda
01:04:32La mutanda andà, la mutanda andà, la mutanda, la mutanda, la mutanda andà
01:04:42Non ne so capito bene