Nel Regno di Napoli, Schroeter's own voyage to Italy, has the appearance of something much more straightforward, hewing closely to a postwar timeline (actually marked and measured by emblematic intertitle cut-ins announcing the year, accompanied by radio bulletin-like narration updating us on the historical/social/political context) as it tells the story of little Vittoria (played as an adult by Cristina Donadino), born to a poor family in a rough neighborhood of Naples at the end of the war, whose fate, as she grows from impoverished girlhood to "success" as an airline stewardess in the 1970s, provides our dramatic compass through a living, clear-eyed history book, encompassing a whole microcosm of Neapolitan life in the turbulent, industrializing decades after the war: A brother, Massimo (Antonio Orlando) earnestly and diligently devoted to the promise of a better, fairer future for the oppressed workers held out by the Communist Party; a pretty, naïve, ill-fated French prostitute; the Spanish War veteran who becomes their local C.P. leader, and his wife, more pragmatic and lurking in the ideological gray area by buying rationed necessities on the ultra-capitalist black market; the turncoat bourgeois attorney who sells out his working-class neighbors for his tacky, impossible dreams of the good life; and the operatically evil heiress/factory boss lady (Ida Di Benedetto) whose clutches Massimo fights to neutralize, but whom Vittoria ultimately just wants to escape any ideologically-impure way she can.

Nel Regno di Napoli, Schroeter's own voyage to Italy, has the appearance of something much more straightforward, hewing closely to a postwar timeline (actually marked and measured by emblematic intertitle cut-ins announcing the year, accompanied by radio bulletin-like narration updating us on the historical/social/political context) as it tells the story of little Vittoria (played as an adult by Cristina Donadino), born to a poor family in a rough neighborhood of Naples at the end of the war, whose fate, as she grows from impoverished girlhood to "success" as an airline stewardess in the 1970s, provides our dramatic compass through a living, clear-eyed history book, encompassing a whole microcosm of Neapolitan life in the turbulent, industrializing decades after the war: A brother, Massimo (Antonio Orlando) earnestly and diligently devoted to the promise of a better, fairer future for the oppressed workers held out by the Communist Party; a pretty, naïve, ill-fated French prostitute; the Spanish War veteran who becomes their local C.P. leader, and his wife, more pragmatic and lurking in the ideological gray area by buying rationed necessities on the ultra-capitalist black market; the turncoat bourgeois attorney who sells out his working-class neighbors for his tacky, impossible dreams of the good life; and the operatically evil heiress/factory boss lady (Ida Di Benedetto) whose clutches Massimo fights to neutralize, but whom Vittoria ultimately just wants to escape any ideologically-impure way she can.

光辉无比的那不勒斯坐落在火山脚下，蓝海之滨。歌德曾有句名言：“不见那不勒斯，死不瞑目。” 　　但是，那不勒斯有其更为复杂的一面。在其光辉华丽的壮观景象背后，追溯到那不勒斯仍拥有很大的政治和社会影响力时，我们还是能看到那里存在着贫穷和不幸。该片导演文森·莫尼肯丹将本片的结尾放在了阳光很少照射到的后街小巷中，衬托出这座古老城市的阴暗和轻浮的一面。 　　本片的主题是明暗技法大师卡拉瓦乔的油画《七件慈悲行为》。这幅神圣的作品是受Pio Monte della Misericordia -一个现在仍很活跃的慈善机构的创立者的委托于1607年创作的。关于这幅油画的传说、Pio Monte的历史和那不勒斯人民的悲喜交织在一起，形成了一幅多彩的写照。本片的主角是那不勒斯城本身。 　　该片使用明暗强烈对比的手法，向人们展现了一座有着2500多年历史的那不勒斯城的激动人心的画面。

浪漫悠闲、风景宜人的海港城市那不勒斯，伴随悠扬的汽笛声，一艘豪华游轮驶入港口。汤姆从舷窗探出脑袋，开心地张望异国他乡的风景。他连忙穿戴一新，戴上崭新的帽子，拿上故作文明的手杖。与此同时，一同前来的杰瑞也准备上岸。当然还没登船到达，两个小家伙就展开新一轮的对决。他们从船上跑到船下，在那不勒斯的街头巷尾你追我赶，惹出一连串的麻烦。最终杰瑞被逼的走投无路，汤姆拿着平底锅追打杰瑞。就在此时，街角的一只小老鼠被吵醒了，他路见不平，拔刀相助，勇敢地出手救下了杰瑞。而另一方面，汤姆又受到当地一条狗的欺负，最后他也得到小灰鼠的帮助。 　　小灰鼠认出了这对卡通明星，志愿担当导游带他们游览名胜古迹……

全片由六个独立的小品组成，这六个故事反映了那不勒斯人民的热情、乐观精神，这种精神，在这座有着厚重历史、灿烂艺术文化、美丽风景、宜人气候的名城里，就是最珍贵的黄金。

全片由六个独立的小品组成，这六个故事反映了那不勒斯人民的热情、乐观精神，这种精神，在这座有着厚重历史、灿烂艺术文化、美丽风景、宜人气候的名城里，就是最珍贵的黄金。

Napoli, anni cinquanta. Un cantastorie, che abita con la numerosa famiglia in una misera catapecchia, viene sfrattato e se ne va coi suoi familiari per le strade, spingendo il pianino di Barberia, cui sono appese delle canzoni. Un colpo di vento spazza via i fogli e sullo schermo si susseguono gli episodi che formano l'argomento delle canzoni. Dall'arrivo dei mori nel 1300 fino al Secondo dopoguerra. Passano sullo schermo Francesi e Spagnoli, Inglesi e Americani: sembra non sia cambiato nulla attraverso tanti secoli di Storia per Napoli e per i napoletani. Senza perdere del tutto la speranza, il cantastorie continua il suo cammino: prima di allontanarsi nella via accoglie nella sua famiglia un giovane cantante innamorato della figlia maggiore. Riprendono tutti insieme il difficile cammino, con la musica nel cuore e nel cervello...

Assunta Spina is a tragedy set in Naples at the beginning of the twentieth century. Assunta and Michele are in love but others come between them and there is much jealousy. They fight and Michele is sent to prison for two years for assault. Nevertheless, because Assunta still loves Michele she is vulnerable when Federigo offers to help Michele but only if Assunta becomes his mistress. Michele is released early from prison, finds Assunta and Federigo together and kills Federigo. When the police arrive, Assunta takes the blame for Michele's crime.