That was an excellent one.

Self-important, over-dramatic, uninspired.

An action-packed slog

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

{{{ Fandor.com has this film available for online viewing in a version tat has none of the technical problems cited in other reviews here about this film.}}} Vittorio Di Sica's Yesterday, Today, And Tomorrow (1963), starring Marcello Mastroianni and Sophia Loren is a very entertaining and artistic film. This is a three segment film, with each segment telling a story about a completely different romantically involved couple, and with very different circumstances in each story. The romantic couple in each story, each segment, is portrayed by Mastroianni and Loren.The acting performances by Mastroianni and Loren in this film as a whole are outstanding. Each segment of this film, being such a different type story from the others, required them to veritably assume a different personality in each segment. Both Mastroianni and Loren did so very convincingly. This film, and its three divergent story lines, required a real chemistry between these two heavyweights of Italian cinema, which they apparently have. It is really amazing to watch these two fine actors in this film act in unison in each segment, acting as though the persona of the character in each individual segment was conceived and written just for them.There is no deep "meaning" or esoteric symbolism in this film. It is just great storytelling at its best. "Just spinning a good yarn" times three. Yet, Di sico's excellent direction, and the excellent performances by both Mastroianni and Loren, brings some difficult to comprehend type of cohesion to these three divergent stories, as if each segment was just a part of a comprehensive whole story. I would suppose that this "comprehensive whole story" might just be called "the story of life". Each divergent story segment is a little "slice of life", somehow fitting into the larger "slice of life" that is the whole film.This film has great artistic merit in that it convincingly portrays, and even celebrates in a way, the very "stuff of life", of everyday life, of your life and mine. This is an artistic film inasmuch it successfully portrays the relentless and indomitable spirit of life, of mundane and ordinary everyday life.

This is a fine movie. Funny and heartwarming. A series of 3 short stories--slice of life stories they would be called in Lit class. As a beauty, she works best with dark hair--not really a blonde or red hair. The visual depiction of the locals are stunning--Naples, Rome, Milano. One looks at a movie for it's place in the form, the genre, or for the artists who played the role; as a film from Sophia Loren and Marcello Mastroiani or director Vittorio de Sica alone makes the movie worth looking at to see where the movie falls in their oeuvre. Like so many short stories, it's easy to overlook the import of the story for it's being so slight; these stories carry their weight and convey that import most excellently. The short story/vignettes, for all their gossamer, hold the weight.

YESTERDAY, TODAY AND TOMORROW. Three short films about sex starring the two top Italian stars of the day, Sophia Loren and Marcello Mastroianni, and directed by Vittorio De Sica.  In the first part Sophia plays a pregnant woman who may have to go to prison for selling contraband on the street.  However, after speaking to a friend who is a lawyer, she and her husband find that the government cannot send a pregnant woman to prison.  So, Marcello has his work cut out for him as soon as the new baby is born.  Very soon she is pregnant again, then again, and again, seven times in all, and keeping her out of jail the whole time - that is, until Marcello runs out of "gas."  Very charming and funny episode.  In the second episode Marcello is having an affair with married Sophia, playing a completely self serving, rich snob.  Almost the entire film takes place in her Rolls Royce as they head for another sexual escape while the rich husband is away.  That is, until they have a car accident.  The third episode, the most famous, is the story of a high priced call girl, Loren, who is trying to arrange time for her best john, Mastroianni, who also is in love with her.  In the house next door, however, is a young man who is studying to be a bishop and is questioning his path in life, particularly after he watches Loren, in a skimpy lacy outfit, watering her plants on the outside deck.  The boy and his mother, a very self-righteous woman who abhors Loren's character, keep getting in the way of Marcello's time with Sophia.  When things are finally worked out with the boy and his mom, Sophia does her famous strip for Marcello, who is sitting on her bed, bouncing up and down in delight in response to Sophia's every move.  It's a very funny scene, and the episode isn't bad, but of the three, the first one, the pregnant woman story, is the most entertaining.  All three stories had something interesting to say about sex in Italy of that time, in particularly the second story about the rich woman having the affair, but it was the least entertaining of the three.  The thing that was good about all of them was how different the six characters created by Sophia and Marcello were.  Vittorio De Sica's direction was superb.  The music and cinematography added a lot to the wonderful atmosphere, particularly in the first episode.  If you're unfamiliar with Loren's or Mastroianni's Italian output this is a good one to take out for a first spin, especially if you've never seen Sophia in anything other than her Hollywood films.

Wasn't too bad, but wasn't the best either. Sophia Loren is smokin' hot in this, like usual, and particularly the strip tease at the end. Little disappointed they stopped some of the tease, such as going from mostly covered down to bra without showing the clothes coming off. I could imagine how Marcello's character is losing his mind watching this. Overall, I'd have to agree that the second vignette was the weakest, and also happened to be the shortest.My biggest issue is the DVD print I watched. I don't know if there's a new edition out, but an academy award winning film should at least be seen in letterbox format, instead of what looks like a poor quality VHS transfer.