Il bidone

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?

Though I'd seen Il Bidone many years ago on TV, I didn't realise it was a Fellini film until the internet joined the dots between film titles and synopsises. I always did remember its starkness, its raw beauty and its redemptive narrative - and at last I bought the DVD and was reunited with this minor classic.

This is where the re-watch proved its worth - the multi-layers of post- war Italian society; its Catholicism fighting at odds with poverty and corruption. The characters interweave their human stories to take us on various personal journeys. Fellini's attempt to include American actors as the male leads, dubbed, fooled me - the oft drawling Broderick Crawford seemed perfect as the guilt-weary protagonist (aka The Swindler) who in actuality was often drunk on set.

For me, the audacious nature of the Swindlers in action, abusing the Catholic position of power by posing as high clergy and conning penniless peasants was bold; certainly for its time. Re-watching brought the trademark Fellini wild party in full swing - as wild and spirited as any he's staged - all rather sickened and over-the-top; portrayed as being funded by immoral, criminal money and in total pursuit of power and hedonism. The ending is one of those that etches itself into your psyche, both haunting and provocative.

However, unlike most 'popular' Fellini films, the leads aren't that likable and one doesn't rally with them in the way of, say, Cabiria or La Strada. That maybe explains why this Fellini isn't generally known, or loved. It's actually rather closer to La Dolce Vita in tone and could be seen as a precursor to that classic.

Il Bidone isn't the easiest film to watch and has its faults; a jarring narrative and inconsistencies that one accepts from amateur crowds on location. But this does add up to a naturally buzzing and strident film, balanced by occasional poignant moments of tenderness as consciences are so sorely pricked, it's heartbreaking.

So, if you're into Fellini, don't let this one pass you by. The director is in his prime here, as voyeur and narrator rather than the self-satisfied but still genius of his indulgent 8 and a half.

Augusto (Oscarized america actor Broderick Crawford), Carlo (Richard Basehart who married the italian Valentina Cortese), and Roberto (Franco Fabrizi) are scam artists who often work together. The three Italian conmen pull capers in Rome tring to make a better life for themselves. Middle-age divorced Augusto is the oldest, most seasoned in the business, and the trio's spiritual leader. They either are immune to the notion that most of their victims are not wealthy, most distressed, most uneducated, most unfortunate, rural peasants or don't care that they make at most a few hundred thousand lira at a time in order to dupe and swindle them.

Another film of magical insight by Federico Fellini the master movie maker of 'La Dolce Vita'. A new dissection of Italian society in the mid-1950s, in similar style to 'I Vittellone' from the hand of a Fellini who already shows in this work his skills as a fierce observer of reality. Dark overtones permeate one of Fellini's best efforts

Sensitive and interesting film about a trio of swindlers led by a lonesome con-man must deal with their jobs and family pressures; packing drama, emotion, good feeling and Italian social habits. Fellini's drama, argued by some to be one of his finest works. The flick contains a highly symbolic internal logic, enjoyable imagery and attractive plot peppered with dramatic events. An enjoyable analysis of the lives of three people trapped in scams and corruption in order to get better their lives and eventually getting redemption. Their discontent leads them to carry out different activities, not all of them worthy of admiration. Fellini made a scathing and thoughtful portrait of manners on some swindlers around Rome in the 1950s. The roles are multi-dimensional and the storyline has brilliant insights into maturity, family, remorse and loneliness. Here Fellini demonstrates a real sensibility to the underprivileged of the world and his belief in a certain redemption. Almas sin conciencia (1955) is both a stand-alone movie and the centerpiece of Federico Fellini's unofficial "trilogy of loneliness," preceded by La strada (1954) and followed by Le notti di Cabiria (1957). All three are key works marking the last great moments of Italian neorealism. Good cast bring up the level of this movie. Along with two American actors: Broderick Crawford, Richard Basehart giving nice acting, there are good Italian actors and comedians who will eventually develop fruitful film careers, such as: Franco Fabrizi, Riccardo Garrone and feature film debut of Lorella De Luca, and, of course, Fellini's, Giulietta Masina.

The motion picture was masterfully directed by Federico Fellini and with magnificent interpretations all around. Fellini who inspired the word "Felliniesque" was one of the best Italian filmmakers/writers . He frequently cast Marcello Mastroianni and Giulietta Masina and Score by Nino Rota. His best works include dreams like imagery and nostalgia. He made Italian classics , such as : ¨8 and 1/2¨, ¨Roma¨, ¨Satyricon¨, ¨I Vitellone¨ , ¨La Dolce Vita¨ , ¨The clowns¨, ¨Casanova¨, ¨And the ship sails on¨, "City of Women" , "Orchestra Rehearsal" and directed his wife Giulietta in various films such as : ¨The white sheik¨ , ¨Il Bidone¨, ¨Juliet of the Spirits¨, "The Nights of Cabiria" ¨Ginger and Fred¨, ¨La Strada¨(1954) that won the first ever Academy Award for Best Foreign Language Film and N. Y. Critics Award to Foreign Film; in addition, including some auto-biographic elements, especially in ¨Amarcord¨ (1973) , though he denied his film to be autobiographical, but agreed that there are similarities with his own adolescence. ¨Il bidone (1955)¨ rating: 7/10. Essential and indispensable seeing for cinema classics fans and Fellini enthusiasts.

Fellini picture that doesn't get the same amount of attention as his best films of 8 and a Half(1963), La Strada(1954), or La Dolce Vita(1960). One of the final Neo realism films the director did before turning his attention to films that were filled with colorful characterizations. Precusor to The Sting(1973) except this movie is not a comedy. About a conman who wants to reform after meeting his daughter for the first time in a long time. Broderick Crawford puts forth a sympathetic performance as the Veteren conman, Augusto. Its probably the best performance in the actor's long career. Il Bidone/The Swindle(1955) is the middle and least known film of the Loneliness trilogy which includes La Strada(1954) and Nights of Cabiria(1957). All three of these movies reveal that the characters are naive about life around them. Getting a little regconition from some people because of its release on Home Video for the first time. The final frame of the picture reminds me of a scene from Don't Torture a Duckling(1972).

Federico Fellini followed "La Strada" with this film. A forgotten classic that on second viewing still has the same impact when we saw it at a retrospective of the master's work some time back. Fellini was instrumental in creating this magnificent movie about con men that operated in Italy in the years that followed the end of WWII. Fellini worked on the screen play with his collaborators, Tullio Pinelli and Ennio Flaiano; they gave life to all these swindlers and made them human. Nino Rota's music and Otello Martinelli's cinematography compliment the film and make it even better.

Fellini was a director that got a lot from his actors, as he shows in "Il Bidone". Working with Broderick Crawford, and again with Richard Basehart, he was able to have both men give excellent performances, especially Mr. Crawford, who looks as though he is nothing but Italian because he convinces us he is the hard man he is portraying.

The three friends, Augusto, Picasso, and Roberto, go from one scheme to the next, never thinking about who are they stealing from. The best caper occurs at the beginning of the film as the trio arrives at the farm of the two older women with the promise of riches hidden in their land. Mr. Crawford's bishop is perfect. So is the assistant priest of Richard Basehart. Franco Fabrizi is the driver. The solution for getting the money away from the poor women is something not to be believed.

Augusto's life is an empty one. He goes from one job to another trying to outsmart his victims. It's not until Augusto meets his daughter Patrizia by chance, that he begins to feel what might be some remorse for his actions as he notices his beautiful daughter now grown and on her way to making something out of her life. His conscience begins to bother him because he realizes the evil of his ways.

The other best sequence in the film involves the party at Vargas' house where the swindlers have been invited to celebrate the arrival of the new year. We watch as Iris, Picasso's wife, realizes what her husband and the others are really up to. Roberto, the ladies' man, steals the gold cigarette case, not realizing that he is at the home of another con man and his actions will not go unnoticed, but even the embarrassment he goes through in front of the guests will make him give up his life.

"Il Bidone" is a fine example of the Italian cinema of those years as it shows an artist of the caliber of Federico Fellini in top form. The film will delight people that haven't been exposed to that part of Mr. Fellini's career seldom seen these days.