Arroz Amargo, with Silvana Mangano, Vittorio Gassman, and Doris Dowling, was originally made in Italy and called Riso Amaro, or Bitter Rice. We already delved into this particular rice paddy, but we wanted to show you this beautiful alternate Spanish poster painted by Catalan artist Josep Renau Berenguer. The movie premiered in Spain four years after it opened at the 1949 Cannes Film Festival and had a long run in Italy. That was today in 1953. If you’re interested you can read our original write-up and see the Italian poster here. 

This great poster was painted by Italian illustrator Dante Manno to promote Riso Amaro, aka Bitter Rice, one of the neorealist movies that came out of Italy during the post-World War II period. If you watch the movie you’ll find that some elements aren't very “real,” but remember that the term neorealism refers to a rejection of the phoniness of Fascist-era film production, rather than a broad description of cinematic properties. Basically, the movie is about two petty criminals, played by Vittorio Gassman and Doris Dowling, who hide from the cops by posing as lowly rice pickers. What’s real here isn’t the rice pickers (whose female ranks are uniformly beautiful and sexily clothed), nor some of the action (typified by a scene in which the workers break into perfect operatic harmony even though the tune they’re singing is being made up on the spot). No, the realism is in the themes and production values. Riso Amaro deals with weighty issues and was made on location by director Giuseppe De Santis in the rice fields of Italy’s Po Valley in crisp, documentary style black and white.

One of Riso Amaro’s rice pickers is the voluptuous Silvana Mangano, who catches Vittorio Gassman’s eye. Since he’s a criminal, he spies opportunity in his circumstances, and while chasing Mangano also plots to steal the entire rice crop while everyone is occupied during an end-of-season festival. Mangano, who has her choice between the slick Gassman and the honest rice picker Raf Vallone, is symbolically torn between American-style and traditional values. Doris Dowling has the same dilemma to a lesser degree. The choice both make will be crucial. Riso Amaro is a good movie, beautifully rendered, and consistently interesting. Tame today, it’s easy to see how provocative it must have been when first released. As with many films, certain elements resonate more over time, and here the secondary theme exploring tensions between legal and illegal workers fascinate. The legal workers resent the presumed loss of jobs, but the illegals must eat somehow and are willing to toil much harder than the legals. All the while the bosses reap the benefits. Sound familiar? Riso Amaro premiered at the Cannes Film Festival in early September and opened in Italy today in 1949.

Above, a vintage French poster for Le poison, aka Lost Weekend, with Ray Milland, Jane Wyman and Doris Dowling. Lost Weekend premiered in the U.S. in 1945, but due to World War II Europeans had to wait two years for its release. It finally opened in France today in 1947. 

The saying goes that you can’t drink all day if you don’t start in the morning, and the drama The Lost Weekend demonstrates that truth. Hard to believe star Ray Milland is the same actor who would end up in b-movie purgatory, toiling in schlock like Frogs and The Thing with Two Heads. Here you see him in an Academy Award winning performance as a man for whom every drink leads to a binge, and for whom every binge leads to a blackout. He isn’t oblivious to his condition. He knows, even as he lies and steals to feed his sickness, that he's just drifting farther and farther out onto a black sea. As a way to gain control, he plans to write a novel about his experiences, called just “The Bottle.” But in order to write about the bottle he has to be able to climb out of it. Some say this film hasn’t aged well, but we think it compares favorably to every movie about alcoholism we’ve seen. The Lost Weekend, with Ray Milland, Jane Wyman and the lovely Doris Dowling, premiered today in 1945.