Sala 1
Italian censors have always kept a watchful eye on the portrayal in film of the Catholic Church and its representatives. They fell over themselves to demand cuts in films like Umberto D. and Alvaro piuttosto corsaro, not to mention the scandalous scene of the fake miracle in La dolce vita (in itself a landmark) and the trial of Pasolini’s film  La ricotta (Curd Cheese). Following this, such demands became more sporadic, although not entirely infrequent, until the total ban (then repealed) of Totò che visse due volte (Toto Who Lived Twice) by Ciprì and Maresco, which was also subjected to a trial for religious defamation..