Schade, daß Du eine Kanaille bist

This film of Alessandro Blasetti is not only extremely entertaining but fascinating in terms of the history of Italian cinema. It was released in the same year as de Sica's masterful 'Gold of Naples' in which Sophia Loren scored a hit under his Svengali-like guidance. Their professional relationship was to prove fruitful to say the least and here they are playing father and daughter. This also happens to be the first time that Loren appeared opposite Marcello Mastroianni who was then in what he later called his 'taxi driver phase', thus beginning a magical screen partnership. Alongside her sexual charisma La Loren shows a keen sense of comedy and improved artistry so one can only assume that de Sica is still a 'guiding hand' here. De Sica's own performance is one of perfect comedy timing and consummate artistry. As is customary in Italian films there is more than one screenwriter and this Roman Tale of Moravia has been adapted by two of the best in the business, Suso Checchi D'Amico and Ennio Flaiano. Blasetti keeps the pace brisk and there is a catchy score by maestro Alessandro Cicogna. There is also good use made of Sigman and Hilliard's 'Bingo Bango Bongo' which once heard, becomes what is commonly referred to as a musical 'earworm'. As a film this is lightweight to be sure but to watch the three leads bouncing off each other is hugely enjoyable especially in light of what is to come.

Paolo (Marcello Mastroianni), a Roman cab driver, picks up beautiful Lina (Sophia Loren), who tries to steal his car. The complaint to her father Signore Stropianni (Vittorio De Sica) is no use - he is the head of a whole family of thieves. After Paolo realizes that involving authorities into the criminal doings of the Stropiannis is for nothing, he decides to fall in love with Lina.

It's a zippy, very funny and entertaining comedy with the young screen couple Loren/Mastroianni and veteran De Sica, who really shines in here. Lina is an attractive woman, desired by many men and is never at loss of words. Paolo, a man of integrity and good will (at least it seems like he is), is not as faithful as his rich passengers would have assumed. Together they get deeply enmeshed with each others criminalities.

The film was very successful in Italy and regarded as one of the highlights of the Italian comedy series of the 50s. Mainly the rising star of Sophia Loren (and Marcello Mastroianni), who shaped up well to serious competition to sexbomb Gina Lollobrigida, contributed to the success. And that made Hollywood keeping an eye for her talent (three years later she starred in Kramer's "The Pride and the Passion" among Cary Grant and Frank Sinatra).

I was going to start this review off by calling Too Bad She's Bad an early Sophia Loren film, but then I looked at all the stuff she's been in and this was her 30th role... and her first was only in 1950, so I guess she was in-demand right from the start. She also only would've been 19 in this film, so take that information how you will. I don't imagine she had the easiest start in the industry, being as young and beautiful as she was, but she sure ended up earning her stardom and status as a pop-culture icon. She's very charismatic and likable on-screen, even in movies like Too Bad She's Bad, which otherwise feels just a bit ordinary and nothing all that special.

Well, I guess Marcello Mastroianni is in this too, and he's pretty good as always. The plot kind of feels like watching a farce with all the big jokes taken out. What remains is something that feels like an Italian screwball comedy with lots of fast wordplay, but if that's the case, much of it gets lost in translation; the subtitles just aren't the same. Still, it's a breezy watch and it's still a little bit of fun, plus the charisma of the two stars, Loren and Mastroianni, kept me fairly engaged throughout.

That ending sure was something, though. Much of it hasn't aged too horifically until the literal final minute!

A young Sophia Loren momentarily entrances a young Marcello Mastroianni as a ruse for her friends to steal his taxi; he thwarts them and sees her home, only to find out soon enough she's also a pickpocket, and her wily papa works a luggage-stealing scheme down at the train station. Minor yet exquisitely breezy and uncomplicated Italian farce, with sexy asides and feisty banter no doubt charming American audiences who went to see this under the title "Too Bad She's Bad". We never really learn when Mastroianni's cabbie actually falls for the curvaceous Loren, just as we never discover when her feelings for him become anything other than business-related, but that's the beauty of the set-up. No scenes punctuate the weightier issues because the movie is issue-free. The most substantial exchange of dialogue comes late in the film between Sophia and father Vittorio De Sica as they discuss love: "No one ever died from heartbreak," he tells her. "In fact, that is what prolongs life." ** from ****

Mama Mia! La Gran -Sophia- at the tender age of -20-. Moreover in the kind of role she'd almost never be able to play in America at -any- age, let alone at the pinnacle of her astonishing sexual impact. The costumer put her in one understated but thoroughly boggling outfit after another.

The role suits the wardrobe and vice-versa. The Body going bawdy is exactly what the title infers, but with sufficient "screwball comedy" dialog to make it entertaining as well as educational. (The teacher -will- command your attention here. Yow.) Marcello is on top of his pre-Fellini game as the almost crafty-enough romantic lead, and De Sica does a fine local godfather. As a genre, post-war Italian cinema is almost always reliable, and this is no exception.

Guys (of any age): If you've got -any- sort of a masochistic yen for being manhandled by a world-class, hormone-heating, trick-or-treater, -this- will make your day. Hahahaha.