Antonio Pietrangeli, who began his career as a dogmatic neorealist critic, was one of the few directors of Italian comedy to show much sympathy for his female characters, and this 1964 effort, considered one of his most perfectly shaped films, is said to typify his protofeminist leanings. An unhappy country spinster (Sandra Milo) meets a nervous little man through a lonely-hearts ad, and neither partner in the mismatch wants to admit that the relationship is a mistake.