Dommage que tu sois une canaille

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!

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.

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.

Whatever the silly story, this has to be watched! And admired!

With Sophia Loren, Vittorio de Sica and the young Marcello Mastroianni noathing can go wrong, and nothing does go wrong. Usually, Sophia alone already plays anyone to the ground, and in here, a masterly de Sica at times even outpaces her. It is a pity that he tends to be forgotten.

The whole plot circles around these two, father and daughter, kind of outdoing each other with petty and not quite so petty crime. De Sica shows enormous talent as a comedian in this movie.

Watch it at least twice, and one time just follow Sophia Loren, and the second time Vittorio de Sica.

And then tell yourself which 'more modern' actors are able to do likewise. Doing almost nothing. Just being there. Actually, in this respect Fernando Rey falls into this same class. But that's another story altogether.

Unfortunately, my copy is dubbed in German. A horrible choice of speakers spoil half of it. Mastroianni dubbed by someone who sounds like a 17-year-old dimwit, and Loren by a 17-year-old nanny.

Marcello Mastroianni is a cab driver hired by Sophia Loren and two guys to take them to a beach out in the countryside. It's a ruse to steal his cab, but when it fails, Mastroianni is left with Loren, who he tries to take to the police. She gets away, but Mastroianni finds his way to her family, a clan of thieves headed by her father Vittorio De Sica. Mastroianni spends the film alternately falling in love with Loren and trying to turn her in to the police.

This is a delightful screwball comedy quite reminiscent at times of "The Lady Eve". Mastroianni and Loren appeared together in 14 films, and their chemistry is magnificent. That said, De Sica steals the film, especially in the climactic scene that sees everyone in a judge's chambers trying to explain what happened.

The "Bingo Bango Bongo" song will stay in your head for days.