Saturday, Sunday and Friday

Saturday, Sunday and Friday, originally titled Sabato, domenica e venerdì, is a 1979 Italian anthology comedy film directed by Castellano & Pipolo, Pasquale Festa Campanile and Sergio Martino.[1][2][3]

Saturday, Sunday and Friday
Directed byCastellano & Pipolo
Pasquale Festa Campanile
Sergio Martino
Produced byLuciano Martino
Written byCastellano & Pipolo
StarringAdriano Celentano
Lino Banfi
Michele Placido
Edwige Fenech
Music byDetto Mariano
CinematographyAlejandro Ulloa
Edited byMario Siciliano
Eugenio Alabiso
Release date
1979
Running time
118 min
CountryItaly
LanguageItalian

Plot

The film is divided into three episodes that have as their theme the love and public relations.

I segment

Nicholas La Brocca deals with public relations, but he is also an engineer and must accommodate in Italy a beautiful Japanese female engineer, arrived in the Belpaese to bury the ashes of her grandfather, as the old man wanted in the will before die. Nicola and the Japanese girl fall in love, although Nicola already has a girlfriend.

II segment

The truck driver Mario is convinced from the neighbor Enza to pretend to be married to her. In fact the girl is of Sicilian origin, and for years lives in the city, and knows that the parents want to see her married with children, otherwise they would not approve. So Mario has to bear all weekend the crazy needs of the false Sicilian relatives.

III segment

Ambroise Constantin is a dancing master who has a luxurious dance school. He is a very rich man and he is revered by his young dancers, except for the rebel girl Jacqueline, who wants to marry the gangster Fred. Ambroise must prevent it.

Cast

Sabato (Saturday)

(directed by Sergio Martino)

Domenica (Sunday)

(directed by Pasquale Festa Campanile)

Venerdì (Friday)

(directed by Castellano & Pipolo)

Release

Saturday, Sunday and Friday was released in Italy on 20 October 1979.[4]

gollark: Am I better at resisting peer pressure than other people: well, I'd *like* to think so, but so would probably everyone else ever.
gollark: Anyway, I have, I think, reasonably strong "no genocide" ethics. But I don't know if, in a situation where everyone seemed implicitly/explicitly okay with helping with genocides, and where I feared that I would be punished if I either didn't help in some way or didn't appear supportive of helping, I would actually stick to this, since I don't think I've ever been in an environment with those sorts of pressures.
gollark: Maybe I should try arbitrarily increasing the confusion via recursion.
gollark: If people are randomly assigned (after initial mental development and such) to an environment where they're much more likely to do bad things, and one where they aren't, then it seems unreasonable to call people who are otherwise the same worse from being in the likely-to-do-bad-things environment.I suppose you could argue that how "good" you are is more about the change in probability between environments/the probability of a given real world environment being one which causes you to do bad things. But we can't check those with current technology.
gollark: I think you can think about it from a "veil of ignorance" angle too.

References
  1. Roberto Chiti; Roberto Poppi; Enrico Lancia. Dizionario del cinema italiano: I film. Gremese, 1991. ISBN 8876059695.
  2. Marco Giusti (1999). Dizionario dei film italiani stracult. Sperling & Kupfer. ISBN 8820029197.
  3. Andrea Pergolari. Verso la commedia: momenti del cinema di Steno, Salce, Festa Campanile. Firenze libri, 2002.
  4. German, Yuri. "Sabato, Domenica E Venerdi". Archived from the original on 2 November 2012. Retrieved 3 April 2018.


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