The White Angel | |
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Directed by | Raffaello Matarazzo |
Written by | Aldo De Benedetti Giovanna Soria Piero Pierotti Raffaello Matarazzo |
Produced by | Goffredo Lombardo Raffaello Matarazzo |
Starring | Amedeo Nazzari Yvonne Sanson |
Cinematography | Tonino Delli Colli |
Edited by | Mario Serandrei |
Music by | Michele Cozzoli |
Production companies | Titanus Labor Films |
Release date |
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Running time | 100 minutes |
Country | Italy |
Language | Italian |
L'angelo bianco (internationally released as The White Angel) is a 1955 Italian melodrama film directed by Raffaello Matarazzo. It is the sequel to Nobody's Children (1951). [1] According to the author Louis Bayman, this couple of films "sealed director Raffaello Matarazzo's reputation as king of the Italian melodramatists". [2]
The film's sets were designed by the art director Ottavio Scotti. The screenplay was written by Aldo De Benedetti, and the story was written by Giovanna Soria and Piero Pierotti.
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The story continues from where Nobody's Children left off. Guido Carani (Amedeo Nazzari) has been separated from his beloved Lina Marcolin (Yvonne Sanson), who has been forced to assume the false identity of Luisa Fanti. After serving time in prison for a crime he didn't commit, Guido is released and desperately searches for Lina, unaware of her new identity.
Meanwhile, Lina has become a nurse working in a hospital, earning the nickname "The White Angel" for her compassionate care of patients. She has dedicated her life to helping others while hiding her true identity and past. Despite her new life, she never stops thinking about Guido and their lost love.
The film follows parallel storylines as both characters struggle with their separation. Guido faces numerous obstacles in his search, encountering people who either cannot or will not help him find Lina. His determination is tested as he navigates a world that seems determined to keep them apart.
When Guido finally discovers Lina's whereabouts and her work at the hospital, their reunion is bittersweet. Though their love remains strong, they must confront the reality of how their lives have changed and the sacrifices they have both made.
The climax involves a dramatic confrontation where the truth about their past finally comes to light, leading to a resolution that tests the audience's emotions and provides the cathartic ending typical of Matarazzo's melodramatic style.