As a way of atoning for his string of Sophia Loren pastries, De Sica here took up the hefty topic of isolationist Jews in Mussolini's Italy. Originally it was to have been directed by Valerio Zurlini, and it could well have used some of his delicacy. The script has a novelistic time-span and leisurely unfoldment, but the actors are allowed to give away the director's sentiments very early on. The employment of Dominique Sanda as a Miss Mysterious, and the pastel imagery of bucolic bike rides, lazy tennis matches, impeccably manicured lawns, and so on, are unmissable clues to De Sica's docile modishness. (1971) — Duncan Shepherd
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