Die Schwindler

This movie follows the exploits of Augusto and his team of unscrupulous crooks, they cheat and swindle the poorest, and most helpless, of the Italian countryside stealing what little savings these people have for promises of immense riches. They then return to Rome where everyone seems to be trying to work the other, each character and minor character tries to outwit the other. There are a few very subtly funny hustling scenes that are offset by the tragic everyday life of Augusto. He is no longer a young hustler, but a middle aged crook with nothing to look forward to. That is, until he sees his young, and estranged daughter Patrizia, and he sees her as a way to make his life more meaningful, or maybe, less lonely. (POSSIBLE SPOILERS) And she only needs a small sum of money to help her get on her feet, so Augusto, the working man he is, tries to help her. The viewer gets the feeling that it might actually be one last bidone, or big swindle, and for once he has a legitimate reason. But, in the life of Augusto nothing can be as easy as that. Augusto's character is forlorn and sad, but, if I might add, if the last scene does not leave a lump in your throat you are a stronger man than I.

I've seen LA STRADA a few times, but had never even heard of IL BIDONE. Spotted it among a batch of new DVDS at a friend's place, and gaped at it, amazed. Broderick Crawford (?!) in a Fellini? This I HAD to see! Took it home, popped it in...and was completely blown away. A great performance from Crawford, many indelible moments, and an emotionally shattering climax. In many ways I preferred it to LA STRADA -- felt it was less manipulative. Dug out the various movie guides, read some reviews, and learned it was part of Fellini's "Trilogy of Loneliness" -- LA STRADA, IL BIDONE & NIGHTS OF CABIRIA. So I sought out CABIRIA and enjoyed it immensely as well.

The middle chapter in Fellini's "trilogy of loneliness", made by a master between "La Strada" (1954), and "Nights of Cabiria," (1957), "Il Bidone" (1955) is less known, for long time simply forgotten (and I can't imagine why) but powerful, humorous, heartbreaking, and poignant film. Broderick Crawford, Academy Award winner for playing Willie Stark, a corrupt politician and a charismatic man in "All the King's Men" (1949), gives a compelling performance as Augusto, an aging con man, a leader of a trio of small time crooks who take advantage of poor and uneducated Italians in both country side and poor quarters of Rome. Augusto realizes at the age of 48 that his life of selfishness, greed, and wrongdoings only made his existence meaningless. Once in his life, he decided to con the con men in order to help his daughter whom he rarely sees but deeply loves with fulfilling her dreams of better life but a swindle gone wrong leads Augusto to the final scene of pain, both physical and mental, to loneliness and desperation. It is very much like "Nights of Cabiria" final scene but without eternal hope of Cabiria's smile…

Technically, "Il Bidone" is a very strong film with memorable performances, including the smaller cameos. Fellini's directing is as satisfying as always and many scenes remind of his future triumphs (New Year party is a stunning sequence and brings to mind "La Dolce Vita", 1960 ). Nino Rota's music and Otello Martinelli's cinematography add to many pleasures of the film, one of them is Giulietta Masina who plays supporting role of Iris, the wife of Picasso (Richard Basehart), the younger con artist with a dream to become an Artist. Both, Masina and Basehart starred in Fellini's first chapter of "trilogy of loneliness", "La Strada" (1954).

Il Bidone is as good as anything Fellini has ever done. A masterwork with brilliant performances, stunningly beautiful shots and a wonderful script, this film tells more about Italy than any dozen other films. It all centers on Broderick Crawford's amazing acting -- the pinnacle of his career. An achingly wonderful film and a monumental performance. His character is so nasty and so bad -- yet still you feel sorry for him. But all the roles are filled with wonderful actors, down to the smallest bit part. Some of these scenes can't be rivaled anywhere -- the one between Crawford (dressed as a fake Monsignor) and the girl on crutches is one of the best bits of cinema in history.

A trio of con-men lead by a lonesome swindler must deal with their job and family pressures.

Bosley Crowther called it "a cheap crime thriller." He added, "For this film, which is often mentioned in estimations of the master's works, is notable as a false step in his movement toward the development of a type of story material ... But it contains some very strong Fellini phases and accumulations of moods that make it well worth seeing. And it is generally well played ... Broderick Crawford's performance as the swindler is heavy and sodden, with a particular flair for postured histrionics in the swindle scenes." I suspect that opinions have changed since Crowther's day and people are generally more positive. It may be a "cheap crime thriller", but I happened to really enjoy that aspect -- the three cons who are so depraved they will even pretend to be the Church to rob from the poor. And then we get the beautiful contrast of their home lives. These are not three evil bachelors, but men who have wives and children. Does that make their crime worse?