Gastone 1960

Italy, in the 1920s, the aftershocks of war feel distant as the glow of the tabarin spills into the night. Gastone, Alberto Sordi, a celebrated danseur mondain, glides across the floor in a perfectly cut tailcoat, entertaining the wealthy ladies who fill the club with glitter and whispered admiration. The scene is a portrait of style and desire, where every step is a mock salute to fortune and every smile a transaction. Yet beneath the polished surface, Gastone is a frivolous and artless figure, a well-known scammer who has learned to thrive on attention rather than genuine connection, chasing a lasting glory that the Great War never gave him.

He moves through a culture of brazen charm, surrounded by a cast of fatuous and sometimes dishonest characters—princes, loan sharks, and La signora—who all feed the glittering illusion that fame can cover every wound. In this world of extravagance and risk, Gastone’s appetite for admiration grows and hardens into a single, stubborn ambition: to be the center of a theatre where the spotlight never fades. It is in this climate that a new student arrives at his makeshift dance school: Nannina Anna Maria Ferrero, a young maid with noble roots who is as gifted as she is determined. She is not just a pretty presence in the club’s orbit; she is a dancer with real skill and a fire to prove herself, and she quickly becomes a catalyst for change in Gastone’s life.

Seeing in Nannina a potential partner who could lift the club to new heights, Gastone convinces himself that he has found the perfect new star. Yet fate has its own plan. A complaint lands Gastone at the police station, while Nannina rises as a solo performer under a new identity, Anna La Belle, and garners widespread acclaim. Her breakthrough is swift and dramatic, a testament to talent meeting opportunity, and soon she commands attention across Europe’s theatres and clubs. The transformation is not merely a personal victory; it alters the power dynamics of a scene that once seemed to belong entirely to Gastone. The ascent is aided by a famous impresario, whose belief in Nannina helps propel her to the pinnacle of show business, even as Gastone watches his own star dim.

As Nannina’s star climbs, Gastone struggles to adapt to the changing tastes of audiences who crave something newer, brighter, and more modern than his glossy world could offer. The era’s mood shifts, and the old charm begins to seem exhausted, leaving Gastone to confront a slow, painful fade. His pride, however, remains intact even as his fortunes decline. The scene shifts to a second-rate club where Gastone turns to another old flame, Rosa, to recapture a spark of the past. Rosa, played by Franca Marzi, remains loyal, yet the reunion cannot salvage the widening rift between the man he is and the era that has moved on.

The final act is bleak and telling: the last performance turns into a total fiasco, and the bel danseur finds himself reduced to poverty. Yet even in defeat, a stubborn vanity lingers. His consolation is the hope—perhaps naïve, perhaps deeply human—that he might see Nannina one last time. He steps away from the lights with a quiet, solitary conviction: that he remains, in some essential sense, the most beautiful and desired, even as the world around him has already moved beyond his era.