I found myself entertained by this film on occasion, but I have to say, there were moments when I felt lost! It mixes elements of a biographical account, historical events, and theatrical absurdity to such an extent that it’s frequently unclear who is acting rationally and who isn't. There really was a King Francesco II of Naples and the Two Sicilies (played by Giancarlo Giannini) who had a marriage with Maria Sofia (Ornella Muti), and they were removed from power by Garibaldi before Vittorio Emanuele brought their territory into the newly created kingdom of Italy; however, regarding the rest of this story – it’s essentially an imaginative journey through exaggerated characters, costumes, and silliness that accompanied the former monarchs as they initially sought refuge in Rome with the Pope, then found themselves increasingly impoverished and moving from place to place. The King seemed relatively resigned to the idea of regaining his throne, but his wife felt differently. She was convinced that having a child would resolve their issues, though he didn't seem particularly interested. He appeared much more focused on achieving sainthood for his deceased mother than securing the future of his own family. It was a period of considerable upheaval in Europe and as political influence shifted, so did their circumstances, which is what this lighthearted presentation portrays. Giannini seems to be enjoying himself, engaging in various antics that may have even helped explain why he lost his position; Muti does an adequate job despite having limited material to work with, while Carlo Croccolo makes a strong impression as their clever butler "Rafele." The story takes a pointed look at the concepts of patriotism, loyalty, and, quite frankly, dynastic failure resulting from foolishness across all levels of what could be broadly considered “government.” Unfortunately, it’s often confusing and the queen's habit of dressing up as a man to provoke feelings of rebellion didn't always succeed. Nevertheless, it's unusual and engaging to observe how director Luigi Magni presented a more intimate (less Hollywood-style) perspective on some of the sometimes harsh beginnings of his modern country while also gently mocking the intense fervor that was involved.

Source on TMDB