ScreenwriterItalianAward winnerNeorealism

Suso Cecchi d'Amico

Suso Cecchi d'Amico was a groundbreaking Italian screenwriter, pivotal to Neorealism and acclaimed for her collaborations with directors like Visconti and De Sica.

1. Overview

Giovanna Cecchi, professionally known as Suso Cecchi d'AmicoItalian, was a groundbreaking Italian screenwriter and occasional actress whose career spanned over sixty years. Born in Rome on July 21, 1914, she became one of the first prominent female screenwriters in Italy and played a pivotal role in shaping the Italian Neorealist movement. Her contributions were instrumental in capturing the raw social realities and human struggles of post-war Italy, reflecting a deep commitment to social commentary and artistic innovation.

Cecchi d'Amico collaborated with virtually all the most celebrated post-war Italian film directors, including Luchino Visconti, Vittorio De Sica, Mario Monicelli, and Franco Zeffirelli, co-writing many of their acclaimed and award-winning films. Her distinctive writing style was characterized by succinct dialogue, nuanced character portrayals, and a profound understanding of the human experience. She was a trailblazer for women in the film industry, helping to create credible and complex female characters on screen. Her significant achievements were recognized with numerous accolades, including the 1980 David di Donatello Award for lifetime career and the Golden Lion for Lifetime Achievement at the 1994 Venice Film Festival, solidifying her legacy as a master storyteller and a "Grand Lady of Italian Cinema."

2. Early life and background

Suso Cecchi d'Amico's early life in Rome and her family's rich cultural background provided a fertile ground for her later contributions to Italian cinema.

2.1. Childhood and Education

Giovanna Cecchi was born on July 21, 1914, in Rome, Italy. Her father immediately renamed her Susanna, and her parents' Tuscan heritage led to her nickname "Suso." She attended the French lycée in Rome, where she developed strong language skills. She then pursued higher education, studying in Switzerland and Cambridge, further enhancing her linguistic proficiency. Upon her return to Rome, she utilized her command of languages to work with the Ministry of Foreign Trade. In 1932, her father, Emilio Cecchi, returned from a two-year professorship in the United States, where he had observed the burgeoning film industry. He was subsequently appointed the new director of the Cines Studios by the Italian government. This period marked Suso's initial exposure to the film industry, as she frequently visited the soundstages, familiarizing herself with the production processes, crews, writers, and actors.

2.2. Family Background

Suso Cecchi d'Amico came from a distinguished family with deep roots in Italian culture and arts. Her father, Emilio Cecchi (1884-1966), was a renowned figure from Florence, celebrated for his work as a literary critic, author, film producer, and director. Her mother, Leonetta Cecchi Pieraccini (1882-1977), originally from Siena, was an acclaimed painter and writer. In 1938, Suso married musicologist Fedele "Lele" D'Amico, the son of the prominent theatre critic Silvio D'Amico. During World War II, Lele went into hiding due to his involvement with an anti-Fascist publication. Despite the wartime challenges, the couple had three children-Masolino, Silvia, and Caterina-all of whom would later make significant contributions to Italian culture in their respective fields.

3. Career

Suso Cecchi d'Amico's professional life as a screenwriter was marked by her pioneering spirit, her pivotal role in Italian Neorealism, and her extensive collaborations with leading directors, all of which profoundly shaped Italian cinema.

3.1. Early Career and Entry into Film

With the onset of World War II, Suso Cecchi d'Amico left her position at the Ministry of Foreign Trade and transitioned into a career as a translator of literary works. During this period, she was frequently asked by her father's colleagues to read scripts and provide feedback, demonstrating her innate understanding of storytelling and narrative structure. Her formal entry into screenwriting occurred when producer Carlo Ponti and director Renato Castellani approached her to write a script herself. This opportunity launched her prolific career as a screenwriter. She quickly earned the moniker "Grand Lady of Italian Cinema" for her significant contributions and pioneering work as one of Italy's first female screenwriters. Her male counterparts welcomed her input, recognizing the invaluable female perspective she brought to the writers' room, which was crucial for developing credible and complex female characters in Italian cinema.

3.2. Contribution to Italian Neorealism

Suso Cecchi d'Amico's career flourished during the emergence and global recognition of Italian Neorealism. She developed a distinctive writing style that seamlessly blended her extensive literary education with a profound understanding of ordinary people and their struggles. Her scripts were characterized by their succinct dialogue, a deliberate choice often made because many actors in neorealist films were amateurs with limited experience, making shorter lines easier to deliver authentically. Her work was central to the movement's ethos, focusing on capturing the harsh social realities of post-war Italy, the daily lives of common individuals, and the profound impact of societal changes. Through her narratives, she brought to the screen the struggles, hopes, and resilience of a nation in recovery, reflecting a deep commitment to social commentary and a truthful depiction of life. Her early success included co-writing Vittorio De Sica's seminal film Bicycle Thieves (1948), which became a cornerstone of the Neorealist movement.

3.3. Major Collaborations and Works

Suso Cecchi d'Amico collaborated with nearly all the most celebrated post-war Italian film directors, contributing to a vast and influential body of work. Her partnerships were often long-standing and creatively fruitful, resulting in many award-winning and critically acclaimed films.

One of her most significant collaborations was with Luchino Visconti, with whom she co-wrote numerous masterpieces, including Bellissima (1951), Senso (1954), White Nights (1957), Rocco and His Brothers (1960), The Leopard (1963), Sandra (1965), The Stranger (1967), Ludwig (1972), Conversation Piece (1974), and The Innocent (1976). Her work with Visconti often explored themes of class, decline, and human relationships with profound psychological depth.

With Vittorio De Sica, she co-wrote the iconic Neorealist films Bicycle Thieves (1948) and Miracle in Milan (1951), both of which are celebrated for their poignant portrayal of post-war Italian society.

Her collaborations with Mario Monicelli were central to the development of Italian-style comedy, characterized by its blend of humor and social critique. Notable films include Big Deal on Madonna Street (1958), The Passionate Thief (1960), Risate di gioia (1960), Casanova 70 (1965), and Let's Hope It's a Girl (1986).

She also worked extensively with Franco Zeffirelli, contributing to films like The Taming of the Shrew (1967), Brother Sun, Sister Moon (1972), and Jesus of Nazareth (1977 miniseries). Other notable collaborations include Le Amiche (1955) with Michelangelo Antonioni, Lucky to Be a Woman (1956) with Alessandro Blasetti, To Live in Peace (1947) and Angelina (film) (1947) with Luigi Zampa, and Salvatore Giuliano (1962) with Francesco Rosi. She also contributed to the script of William Wyler's American film Roman Holiday (1953), though she was uncredited. Beyond film, she wrote the libretto for Nino Rota's opera I due timidi.

3.4. Writing Style and Innovation

Suso Cecchi d'Amico's writing style was distinctive and highly influential, setting a benchmark for screenwriting in Italian cinema. Her scripts were renowned for their succinct dialogue, which conveyed deep meaning with minimal words, a technique particularly effective in the Neorealist context where many actors were non-professionals. She excelled at creating nuanced and complex portrayals of characters, delving into their psychological depths and motivations with sensitivity and realism. Her profound understanding of human experience allowed her to craft narratives that resonated deeply with audiences, reflecting the intricacies of Italian society and the universal aspects of human nature.

As one of the first female screenwriters in Italy, Cecchi d'Amico was a true pioneer. She was instrumental in developing and writing for credible female characters, offering perspectives and depth that were often lacking in the male-dominated film industry of her time. Her ability to blend her literary education with acute social observation allowed her to craft stories that were both artistically rich and socially relevant. She was known for her collaborative approach, often working closely with directors to shape the narrative, ensuring that the script served the director's vision while maintaining its integrity and power. Her innovative approach to character development and dialogue significantly influenced subsequent generations of screenwriters.

4. Major Achievements and Awards

Suso Cecchi d'Amico received extensive recognition for her profound and lasting contributions to cinema throughout her illustrious career.

She was awarded the prestigious David di Donatello Award for lifetime career in 1980, acknowledging her unparalleled impact on Italian filmmaking. In 1994, she received the Golden Lion for Lifetime Achievement at the Venice Film Festival, one of the highest honors in international cinema, celebrating her enduring legacy.

Her early work garnered immediate acclaim, including the Nastro d'Argento Award for Best Screenplay for To Live in Peace (1947). The following year, she received another Nastro d'Argento for Best Screenplay for the seminal Neorealist film Bicycle Thieves (1948), shared with Vittorio De Sica, Cesare Zavattini, Oreste Biancoli, Adolfo Franci, and Gerardo Guerrieri. She earned a third Nastro d'Argento for Best Screenplay in 1950 for It's Forever Springtime, shared with Renato Castellani and Cesare Zavattini.

In 1959, she received two Nastro d'Argento awards: Best Screenplay for Big Deal on Madonna Street, shared with Mario Monicelli and Age & Scarpelli, and Best Original Story for La sfida, shared with Francesco Rosi. Her collaboration with Luchino Visconti on White Nights (1957) earned her the San Jordi Award for Best Foreign Screenplay in Barcelona, Spain, shared with Visconti. She received another Nastro d'Argento for Best Screenplay for Rocco and His Brothers (1960), shared with Visconti, Pasquale Festa Campanile, and Enrico Medioli.

In 1966, she was nominated for an Academy Award for Best Original Screenplay for Casanova 70, shared with Mario Monicelli, Age & Scarpelli, Tonino Guerra, and Giorgio Salvioni.

Further accolades include the David di Donatello Award for Best Screenplay for Let's Hope It's a Girl (1986), shared with Mario Monicelli, Tullio Pinelli, Leo Benvenuti, and Piero De Bernardi. In the same year, she was honored with the Luchino Visconti Award, commemorating 10 years since the director's passing. In 1987, she won the Nastro d'Argento for Best Original Story for The Inquiry, shared with Ennio Flaiano.

She was also a member of the jury at the 1982 Cannes Film Festival. At the Venice Film Festival, in addition to her Golden Lion, she received the Pietro Bianchi Award in 1993. In 2001, she won the FIPA Gold Award for Screenplay at the Biarritz International Festival of Audiovisual Programming for the television film Come quando fuori piove, shared with Mario Monicelli, Leo Benvenuti, and Piero De Bernardi. She received the David di Donatello 50th Anniversary Award in 2006 and the Jean Renoir Award for Screenwriting Achievement from the Writers Guild of America in 2009.

5. Personal Life

Suso Cecchi d'Amico's personal life was deeply intertwined with the cultural and intellectual circles of Italy. In 1938, she married Fedele D'Amico, a distinguished musicologist and the son of the renowned theatre critic Silvio D'Amico. Their marriage was a union of two prominent cultural families. Fedele D'Amico passed away on March 10, 1990. Together, they had three children: Masolino, Silvia, and Caterina, all of whom followed in their parents' footsteps to make significant contributions to various fields of Italian culture, extending the family's artistic and intellectual legacy.

6. Death

Suso Cecchi d'Amico passed away on July 31, 2010, in Rome, at the age of 96. Her death marked the end of an era for Italian cinema. The news prompted immediate tributes from across Italy, including from the highest levels of government. The President of Italy, Giorgio Napolitano, acknowledged her passing, stating that she was a "great protagonist of one of the best seasons of Italian cinema." Her final screenplay credit was for the 2006 film The Roses of the Desert (Le rose del desertoItalian), which also marked the last film directed by her long-time collaborator, Mario Monicelli, who tragically died by suicide a few months after her passing, on November 29, 2010.

7. Legacy and Impact

Suso Cecchi d'Amico's legacy is profound and multifaceted, encompassing her lasting influence on Italian cinema, her significant contributions to the art of screenwriting, and her enduring role as a master storyteller and a trailblazer for women in the film industry.

7.1. Impact on Cinema

Suso Cecchi d'Amico's influence on subsequent generations of screenwriters and filmmakers is undeniable. She played a crucial role in shaping the narrative and thematic landscape of Italian cinema, particularly during and after the Neorealist period. Her ability to seamlessly blend her rigorous literary education with a keen social observation allowed her to craft stories that were both intellectually stimulating and deeply resonant with the human condition. She was a key figure in transitioning Italian cinema from the immediate post-war realism to more complex psychological dramas and the nuanced social comedies of the "Italian-style comedy" genre. Her collaborative approach, working closely with directors to refine their visions, set a standard for screenwriting professionalism. Posthumously, her work continues to be celebrated; for instance, in November 2010, the Naples Film Festival in New York City, United States, held a tribute screening in her honor, showcasing films like Alessandro Blasetti's Too Bad She's Bad (1954), Luchino Visconti's White Nights, and Mario Monicelli's Risate di gioia.

7.2. Critical Reception

Throughout her career and posthumously, Suso Cecchi d'Amico's work has consistently received high critical acclaim. Critics have lauded her scripts for their exceptional artistic merit, their profound social relevance, and their enduring power in depicting the complexities of Italian society. Her ability to craft authentic and multi-dimensional characters, coupled with her skill in writing concise yet impactful dialogue, has been a recurring point of praise. She was recognized for her capacity to infuse even the most dramatic narratives with a sense of humanity and realism, making her films resonate deeply with audiences and critics alike. Her pioneering role as a woman in a predominantly male industry, and her commitment to creating strong, credible female characters, further cemented her critical standing as an innovator and an essential voice in 20th-century cinema. Her filmography is regarded as a cornerstone of Italian cinematic history, with her scripts frequently cited as examples of masterful storytelling.

8. Filmography

Suso Cecchi d'Amico's extensive filmography includes over 100 screenwriting credits, showcasing her remarkable longevity and versatility. She also had a minor acting role in one film.

8.1. 1940s

  • 1946: Professor, My Son (Mio figlio professoreItalian)
  • 1946: Rome, Open City (Roma città liberaItalian)
  • 1947: Flesh Will Surrender (Gioventù perdutaItalian)
  • 1947: To Live in Peace (Vivere in paceItalian)
  • 1947: Angelina (L'onorevole AngelinaItalian)
  • 1947: The Walls of Malapaga (Le mura di MalapagaItalian)
  • 1948: It's Forever Springtime (È primavera...Italian)
  • 1948: Bicycle Thieves (Ladri di bicicletteItalian)
  • 1949: Heaven over the Marshes (Cielo sulla paludeItalian)
  • 1949: Fabiola

8.2. 1950s

  • 1950: His Last Twelve Hours (Last Twelve HoursItalian)
  • 1950: Pact with the Devil (Patto col diavoloItalian)
  • 1950: Father's Dilemma (Prima comunioneItalian)
  • 1950: Romanzo d'amore
  • 1951: Honeymoon Deferred (Tre storie proibiteItalian)
  • 1951: Bellissima
  • 1951: Miracle in Milan (Miracolo a MilanoItalian)
  • 1952: The City Stands Trial (Processo alla cittàItalian)
  • 1952: The World Condemns Them (Il mondo le condannaItalian)
  • 1952: Hello Elephant (Buongiorno, elefante!Italian)
  • 1952: Red Shirts (Camicie rosseItalian)
  • 1953: Empty Eyes (Il sole negli occhiItalian)
  • 1953: Eager to Live (Fanciulle di lussoItalian)
  • 1953: The Lady Without Camelias (La signora senza camelieItalian)
  • 1953: I Vinti
  • 1953: Of Life and Love (Pagine di vita e d'amoreItalian)
  • 1953: Roman Holiday (uncredited)
  • 1954: Senso
  • 1954: Graziella
  • 1954: 100 Years of Love (Cento anni d'amoreItalian)
  • 1954: A Slice of Life (Tempi nostriItalian)
  • 1954: The Cheerful Squadron (Allegro squadroneItalian)
  • 1954: Too Bad She's Bad (Peccato che sia una canagliaItalian)
  • 1954: Forbidden (ProibitoItalian)
  • 1955: Le Amiche
  • 1956: Kean
  • 1956: The Window to Luna Park (La finestra sul Luna ParkItalian)
  • 1956: Lucky to Be a Woman (La fortuna di essere donnaItalian)
  • 1957: Husbands in the City (Mariti in cittàItalian)
  • 1957: Defend My Love (Difendo il mio amoreItalian)
  • 1957: White Nights (Le notti biancheItalian)
  • 1958: Big Deal on Madonna Street (I soliti ignotiItalian)
  • 1958: La sfida
  • 1959: ...And the Wild Wild Women (Morte di un amicoItalian)
  • 1959: Violent Summer (Estate violentaItalian)
  • 1959: Hell in the City (Nella città l'infernoItalian)
  • 1959: The Magliari (I magliariItalian)

8.3. 1960s

  • 1960: The Passionate Thief (Risate di gioiaItalian)
  • 1960: La Contessa azzurra
  • 1960: It Started in Naples (It Started in NaplesItalian)
  • 1960: Rocco and His Brothers (Rocco e i suoi fratelliItalian)
  • 1961: The Wastrel (Il relittoItalian)
  • 1962: Salvatore Giuliano
  • 1962: The Best of Enemies (I due nemiciItalian)
  • 1962: Three Fables of Love (Le quattro veritàItalian)
  • 1963: The Leopard (Il GattopardoItalian)
  • 1964: Time of Indifference (Gli indifferentiItalian)
  • 1965: Me, Me, Me... and the Others (Io, io, io... e gli altriItalian)
  • 1965: Casanova 70
  • 1965: Sandra (Vaghe stelle dell'Orsa...Italian)
  • 1966: Sex Quartet (Le fateItalian)
  • 1966: Shoot Loud, Louder... I Don't Understand (Spara forte, più forte... non capiscoItalian)
  • 1967: The Taming of the Shrew (La bisbetica domataItalian)
  • 1967: Pride and Vengeance (I crudeliItalian)
  • 1967: The Stranger (Lo stranieroItalian)
  • 1969: Senza sapere niente di lei
  • 1969: Giacomo Casanova: Childhood and Adolescence (Infanzia, vocazione e prime esperienze di Giacomo Casanova, venezianoItalian)

8.4. 1970s

  • 1970: Metello
  • 1971: Lady Liberty (La mortadellaItalian)
  • 1972: Perché?
  • 1972: Devil in the Brain (Il diavolo nel cervelloItalian)
  • 1972: Brother Sun, Sister Moon (Fratello sole, sorella lunaItalian)
  • 1972: The Adventures of Pinocchio (Film and TV cuts) (Le avventure di PinocchioItalian)
  • 1972: Ludwig
  • 1973: Amore e ginnastica
  • 1974: Amore amaro
  • 1974: Conversation Piece (Gruppo di famiglia in un internoItalian)
  • 1975: Prete, fai un miracolo
  • 1976: Tell Me You Do Everything for Me (Dimmi che fai tutto per meItalian)
  • 1976: The Innocent (L'innocenteItalian)
  • 1976: Caro Michele
  • 1977: Jesus of Nazareth (miniserie TV) (Gesù di NazarethItalian)

8.5. 1980s-2000s

  • 1983: Les Mots pour le dire
  • 1984: Bertoldo, Bertoldino e... Cacasenno
  • 1985: The Two Lives of Mattia Pascal (Le due vite di Mattia PascalItalian)
  • 1985: Cuore
  • 1985: Let's Hope It's a Girl (Speriamo che sia femminaItalian)
  • 1986: Caravaggio (UK)
  • 1987: Big Deal After 20 Years (I soliti ignoti vent'anni dopoItalian)
  • 1987: La Storia
  • 1987: Dark Eyes (Oci ciornieItalian)
  • 1987: Private Affairs (L'inchiestaItalian)
  • 1988: The Rogues (I picariItalian)
  • 1988: Stradivari
  • 1988: Curiosity (Le donne a modo mioItalian)
  • 1989: La moglie ingenua e il marito malato (TV)
  • 1989: Dark Illness (Il male oscuroItalian)
  • 1991: Rossini! Rossini!
  • 1992: Parenti serpenti
  • 1993: The End Is Known (La fine è notaItalian)
  • 1994: Cari fottutissimi amici
  • 1995: Facciamo paradiso
  • 1998: The Room of the Scirocco (La stanza dello sciroccoItalian)
  • 1998: Der Letzte Sommer - Wenn Du nicht willst
  • 1999: Panni sporchi
  • 1999: Un amico magico: il maestro Nino Rota
  • 1999: My Voyage to Italy (Il mio viaggio in ItaliaItalian)
  • 2000: Come quando fuori piove (TV)
  • 2000: Il cielo cade
  • 2005: Raul: Straight to Kill (Raul - Diritto di uccidereItalian)
  • 2005: Three Brothers (I tre fratelliItalian)
  • 2006: The Roses of the Desert (Le rose del desertoItalian)

8.6. As Actress

  • 1962: Boccaccio 70 (segment "Renzo e Luciana")