The Pigeon That Took Rome (1962)

101 mins | Comedy | 1962

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HISTORY

Location scenes filmed in Rome. The working title of this film is The Easter Dinner. ...

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Location scenes filmed in Rome. The working title of this film is The Easter Dinner.

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PERSONAL & COMPANY INDEX CREDITS
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Melville Shavelson Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
PRODUCER
WRITER
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Art dir
Art dir
FILM EDITOR
Film ed
SET DECORATORS
Set dec
MUSIC
Orch
Orch
SOUND
VISUAL EFFECTS
Spec photog eff
process photog
MAKEUP
Makeup supv
Hairstyle supv
PRODUCTION MISC
Andrew J. Durkus
Prod mgr
Prod mgr
Asst to the prod
Scr supv
Dial coach
Dial coach
SOURCES
LITERARY
Based on the novel The Easter Dinner by Donald C. Downes (New York, 1960).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Title:
The Easter Dinner
Release Date:
1962
Premiere Information:
New York opening: 22 Aug 1962
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Llenroc Productions
22 August 1962
LP23299
Physical Properties:
Sound
Black and White
Widescreen/ratio
Panavision
Duration(in mins):
101
Country:
United States
Language:
English
SYNOPSIS

After the fall of Mussolini in 1944 Capt. Paul MacDougall and his radioman, Sgt. Joseph Contini, are smuggled into Nazi-occupied Rome to investigate enemy activities, though neither has had any training in espionage. They are met on the beach by Livio Massimo, an 11-year-old resistance fighter, who leads them to his father, Ciccio, leader of the Italian resistance. Massimo's daughter, Antonella, who is friendly with German officers, resents the intrusion of the American spies because the family is hungry, but she changes her mind when she learns that her sister, Rosalba, is pregnant and in need of a husband. Contini and Rosalba fall in love, and Massimo plans to announce their engagement at a feast, providing he can find enough food. Antonella innocently serves all but one of the carrier pigeons used by MacDougall to carry messages. Livio, trying to be helpful, replaces them with stolen German pigeons, which fly MacDougall's messages directly to the Nazis. Frantic, MacDougall sends insane, contradictory reports, but the surviving American pigeon carries one of these to the Americans at Anzio. The Americans decide to attack; Rome is liberated; Rosalba is married just as her baby arrives; MacDougall marries Antonella on the spur of the moment; and the lone American pigeon receives the Medal of ...

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After the fall of Mussolini in 1944 Capt. Paul MacDougall and his radioman, Sgt. Joseph Contini, are smuggled into Nazi-occupied Rome to investigate enemy activities, though neither has had any training in espionage. They are met on the beach by Livio Massimo, an 11-year-old resistance fighter, who leads them to his father, Ciccio, leader of the Italian resistance. Massimo's daughter, Antonella, who is friendly with German officers, resents the intrusion of the American spies because the family is hungry, but she changes her mind when she learns that her sister, Rosalba, is pregnant and in need of a husband. Contini and Rosalba fall in love, and Massimo plans to announce their engagement at a feast, providing he can find enough food. Antonella innocently serves all but one of the carrier pigeons used by MacDougall to carry messages. Livio, trying to be helpful, replaces them with stolen German pigeons, which fly MacDougall's messages directly to the Nazis. Frantic, MacDougall sends insane, contradictory reports, but the surviving American pigeon carries one of these to the Americans at Anzio. The Americans decide to attack; Rome is liberated; Rosalba is married just as her baby arrives; MacDougall marries Antonella on the spur of the moment; and the lone American pigeon receives the Medal of Honor.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.