I’ll Be Going Now 1991

Drama

Runtime

93 mins

Language

Italian

Directed by

Dino Risi

Made by

Dean Film

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I’ll Be Going Now Plot Summary

Read the complete plot summary and ending explained for I’ll Be Going Now (1991). From turning points to emotional moments, uncover what really happened and why it matters.

After 18 years in a psychiatric clinic, Augusto, Vittorio Gassman returns to his home in Rome under the care of his daughter-in-law Carla, Dominique Sanda. Divorced long ago, she shares the house with her lover Giorgio, Maurizio Fardo, his 12-year-old daughter, and Rosa, Valentina Holtkamp, Carla’s 9-year-old daughter who is Augusto’s granddaughter. Bright and often solitary, Rosa immediately feels a pull toward the grandfather she has never known and begins to seek his company with a warmth that both consoles and unsettles those around them.

As Augusto settles back into the rhythms of daily life, a familiar recognition from his past surfaces when he visits his old household: a former secretary, still in a place of leverage, offers him a ride home but instead draws him into her flat, where she cooks lunch and then makes advances. Augusto phones for a return to his own space, but the moment reveals the fragility of the home he’s stepped back into. Back at the couple’s residence, a drinks party for business contacts unfolds, and Augusto’s spontaneity clashes with the social niceties of the guests. He even offends a client, an act that unsettles the room and foreshadows the trouble his presence can stir. A psychiatrist who hosts a TV program recognizes the combustible spark in him and extends an invitation to appear on air.

In the bar before the broadcast, Augusto meets Alcide, Elliott Gould, an old roommate from the clinic who now lives with a prostitute at a farmhouse outside the city. The two drift into mischief, interrupting the show, and the moment underlines a larger tension: Augusto’s unpredictable nature and the real risks that accompany his return to public life. Carla and Giorgio monitor these developments from their home, where the disruption casts a shadow over their own professional milestones and personal comfort.

Carnival season brings a pivotal turn. The children of Rosa’s school host a party in fancy dress, and Augusto volunteers to escort his granddaughter home. They wander the lively streets, encounter a homeless man, and step into a bar for talk and warmth. After a glass of red wine, Rosa falls into a deep sleep, and Augusto carries her back to the safety of their home. Carla, fearing for the stability of her family, confronts him and reveals the threat of possible recommitment if he does not curb his impulses.

To escape that threat, Augusto runs away to Alcide’s farmhouse, leaving his address with the girl who has already come to depend on him. Rosa later joins him, having faced the threat of being sent to a distant boarding school and missing the grandfather she adores. A police search ensues, and the pair are eventually traced and brought back to the domestic life they left behind. Rosa is sent off to boarding school, while Augusto finds a room of his own, living in a quiet solitude that matches his years of exile from society. Months later, when he visits Rosa, she still shows affection, but her attention has shifted toward a handsome young cousin she has met. Augusto understands that she must grow into her own life, and that he will remain alone, a quiet observer of the next chapter in her growth and his own fragile, enduring solitude.

I’ll Be Going Now Timeline

Follow the complete movie timeline of I’ll Be Going Now (1991) with every major event in chronological order. Great for understanding complex plots and story progression.

Augusto returns to Rome to live with his family

After 18 years in a psychiatric clinic, Augusto returns to his home in Rome under the care of his daughter-in-law Carla. He is greeted by Giorgio, Carla's lover, their 12-year-old daughter, and Rosa, Carla's 9-year-old daughter who is Augusto's granddaughter. The reunion reveals a fragile domestic balance and Augusto's sense of isolation.

Rome

Former secretary lures Augusto to her flat

The secretary pretends to help him with errands, but takes him to her flat, cooks him lunch, and makes a pass at him. Augusto, unsettled and frightened by the unwanted advance, flees before anything inappropriate happens. This incident foreshadows the vulnerability of his return.

shortly after return Secretary's flat

A party at Carla and Giorgio's home turns sour

Carla and Giorgio host a drinks party for business associates, and Augusto wanders in and humiliates a client. The moment exposes the fragility of his reintegration and strains the household's tolerance. The incident unsettles everyone and foreshadows future conflicts.

evening Carla and Giorgio's home

A psychiatrist invites Augusto to a TV appearance

A psychiatrist guest at a TV show invites Augusto to appear, offering him a chance at public attention. The invitation promises a new path but risks exposing his fragile psychological state to a broader audience.

television studio

Bar encounter with Alcide before airtime

In the bar before the broadcast, Augusto meets Alcide, an old clinic roommate who lives with a prostitute at a farmhouse outside the city. The two men disrupt the show with rude behavior, shocking producers and viewers.

before air bar

The disrupted show upsets Carla and Giorgio at home

The show is hastily pulled after their disruption, and Carla and Giorgio watch from home, distressed by Augusto's behavior. They worry about the consequences for Augusto's already fragile status.

immediately after disruption Carla and Giorgio's home

Carnival night leads to a bond between Rosa and Augusto

During carnival time, Rosa's school party gives her a chance to connect with her grandfather. They wander the streets, stumble upon a homeless man, and bring him into a bar for a warm drink and conversation. Rosa's moment with Augusto deepens their unusual bond.

carnival time streets of Rome; bar

Rosa falls asleep; Augusto is attacked by Carla

After drinking wine, Rosa falls asleep on the return trip home. Augusto carries her and is attacked by Carla, who threatens to have him recommitted if he doesn't stay away. The confrontation drives Augusto to flee.

late night Augusto's home

Augusto escapes to Alcide's farmhouse

To avoid the threat of re-commitment, Augusto escapes to Alcide's farmhouse, leaving his address with Rosa so they can reconnect. The move marks the start of a perilous separation.

days after carnival Alcide's farmhouse outside the city

Rosa joins him after a few days

A few days later Rosa journeys to join him at Alcide's farmhouse, having been threatened with transfer to a distant boarding school. Her sense of safety with the grandfather is reinforced as they try to stay hidden.

a few days later Alcide's farmhouse

Police search leads to return home

A police search locates Augusto and Rosa, and the pair are traced and brought back to their home. The scare ends with temporary order restoring the household, but the bond between Rosa and Augusto remains tense.

shortly after departure Rome

Rosa is sent to boarding school; Augusto finds a room

Rosa is sent away to a boarding school, while Augusto finds a room to live on his own. The separation marks the limit of their shared life and a new solitary chapter for both.

soon after return boarding school; Rome

Months later, Rosa's affections shift; Augusto accepts a solitary future

Months later, Augusto visits Rosa; her affection has moved to a handsome cousin, showing she must grow into her own life. Augusto realizes he must remain apart to let her live freely.

months later boarding school

I’ll Be Going Now Characters

Explore all characters from I’ll Be Going Now (1991). Get detailed profiles with their roles, arcs, and key relationships explained.

Augusto Scribani (Vittorio Gassman)

A once-powerful bank manager returning from 18 years in a psychiatric clinic. He is bright but lonely, and his gentle attention toward Rosa reveals a yearning for family. His presence unsettles Carla and Giorgio while offering a softer, hopeful counterpoint to the house's tensions.

🧓 Elder 🕊️ Gentle 🗣️ Charismatic

Carla (Dominique Sanda)

Divorced and living with her lover Giorgio and his daughter while caring for Rosa. She hosts social gatherings, exerts control when Augusto stirs trouble, and ultimately clashes with the idea of letting him belong in their home.

💼 Socialite 🥂 Domestic 🤝 Protective

Giorgio (Maurizio Fardo)

Carla's lover and Rosa's father figure, a businessman who navigates social events and shows impatience with Augusto's unpredictability. His presence anchors the domestic drama and the party atmosphere that triggers conflict.

💼 Businessman 🗣️ Charismatic 🚪 Tension

Rosa (Valentina Holtkamp)

A bright, 9-year-old girl who endures bullying but finds comfort in her grandfather's company. She forms a strong bond with Augusto and faces the threat of being sent to a boarding school before she can fully grow into her own life.

👧 Child 🫶 Bonding 🏫 Boarding-school risk

Alcide (Elliott Gould)

Augusto's old roommate from the clinic who now lives with a prostitute in a farmhouse outside the city. He re-enters Augusto's life as a tentative ally who offers a temporary sanctuary away from the household's scrutiny.

🏚️ Outsider 🧑‍🤝‍🧑 Ally 🐾 Rural

I’ll Be Going Now Settings

Learn where and when I’ll Be Going Now (1991) takes place. Explore the film’s settings, era, and how they shape the narrative.

Location

Rome, farmhouse outside the city

The film shifts between Augusto's life in a Rome apartment and Alcide's farmhouse in the countryside, creating a stark contrast between urban hustle and rural retreat. Key scenes unfold at Carla and Giorgio's home during social gatherings as well as in the quiet, open spaces outside the city where refuge can be found. The carnival and bar settings add texture to the urban life that frames the family drama.

🏙️ Rome 🏡 Countryside outskirts

I’ll Be Going Now Themes

Discover the main themes in I’ll Be Going Now (1991). Analyze the deeper meanings, emotional layers, and social commentary behind the film.

🕰️

Aging and Loneliness

An elderly Augusto returns after 18 years in a psychiatric clinic, exposing him to a world that has moved on and leaving him longing for family connections. The film tracks his slow navigation of a changed life, where tenderness fights isolation. Rosa's companionship highlights how loneliness can be softened by intergenerational bonds.

👪

Family Bonds

The household around Augusto—Carla, Giorgio, Rosa, and the memories of the past—reveals both warmth and fragility in kinship. Rosa's quick attachment to her grandfather contrasts with the adults' tensions and loyalties. The story uses these relationships to question what family means when loyalties clash with personal freedom.

🗝️

Escape and Boundaries

Augusto's flight to Alcide's farmhouse represents a temporary escape from control, but it also underscores how safe havens are fragile amid social expectations. The pursuit and eventual reunion with Rosa shift the dynamics of belonging and custody. The film probes how physical and emotional boundaries shape our sense of home.

⚖️

Care vs Control

Carla's protective stance toward Augusto morphs into a coercive threat to have him re-committed, illustrating the blurred line between care and domination. The power dynamics within the household are tested as love, duty, and fear collide. The narrative invites viewers to consider whether safety justifies overbearing control.

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I’ll Be Going Now Spoiler-Free Summary

Discover the spoiler-free summary of I’ll Be Going Now (1991). Get a concise overview without any spoilers.

In post‑war Rome, a city that hums with both routine and the lingering echo of change, former bank manager Augusto Scrivani steps out of the shadows of an eighteen‑year psychiatric stay. His return is not to a quiet, waiting home but to the bustling apartment of his daughter‑in‑law Carla, whose life has already been reshaped by a companion, Giorgio, and the everyday swirl of their blended family. The house itself feels like a fragile stage, its walls already echoing with unconventional arrangements and tentative comforts, setting the tone for a delicate re‑entry into a world that has moved on without him.

The atmosphere of the film is one of quiet melancholy brushed with sharp, sometimes raw humor, reflecting Augusto’s internal tension between the yearning for connection and the weight of his own fragility. His presence unsettles the familiar rhythm of the household, drawing out both tender curiosity and subtle unease, especially in the eyes of young Rosa, his nine‑year‑old granddaughter who has never known him. Their budding bond offers a glimpse of possible redemption while simultaneously highlighting the precarious balance between past wounds and present hopes.

Against the backdrop of a Rome that is both timeless and in flux, the story unfolds as a study of reintegration—how a man long isolated by his own mind navigates the ordinary yet intricate demands of family, affection, and social expectation. The film’s style, anchored by Vittorio Gassman’s understated yet powerful performance, invites the audience to linger in the spaces between laughter and sorrow, inviting speculation about how Augusto will negotiate his place within a world that is simultaneously familiar and foreign.

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