"This rumor goes wild in the city, every respectable person starts to throw a bone to the poor around him or her, hoping to hit the jackpot, whereas the millionaire, naturally, takes a shine to a nubile circus girl (Noris), trying to woo her as a bum. So it appears that Camerini attempts to mingle the haves and the have-nots, but such an idea doesn't comply with the fascist regime's values, and what makes this farce still relatable today is its hard-edged depiction of the haves' hypocrisy and cupidity, once the jackpot is revealed (although falsely), they attitude towards the poor takes a volte-face right on the spot, but Camerini doesn't do it ironically, he does it with a straight face, a matter-of-fact correctness implies it is the right thing to do, the gaping gap cannot be breached. What the poor can enjoy is a fling of joie de vivre in an amusement park, the smiles on their faces are indwelled. Is it the input of Cesare Zavattini, one of the co-screenwriters? It is his first screenplay, but most importantly, it marks the first contact between him and De Sica, soon Italian neorealism would be birthed by dint of their preeminent collaborations."

read my full review on my blog: Cinema Omnivore, thanks.