Vittorio De Sica’s 1963 segment “Adelina” — set in the working-class Forcella quarter of Naples — is not pure invention but a dramatization of an extraordinary real-life gambit. The film’s plot hinges on a quirk of Italian criminal law: women could not be incarcerated while pregnant or for six months after giving birth. De Sica transposes that legal loophole into a comic-social fable in which Sophia Loren’s Adelina continuously gets pregnant to keep the bailiffs from taking her away for selling contraband cigarettes. In reality the inspiration was Concetta Muccardi, a Neapolitan street vendor of black‑market cigarettes who, according to contemporary accounts and later reporting, went through an astonishing sequence of pregnancies — reported as 19 in biographical notes — in order to avoid prison. De Sica substantially condensed and stylized the material (the film depicts seven children in eight years) but kept the essential, unsettling premise: maternal bodies used as shields against state punishment.
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