Le pigeon

As is typical in most Italian comedies, Monicelli has taken a cup of post war Italy realism and stirred in a cup of scenes from the human condition along with a dash of physical comedy which makes 'Big Deal On Madonna Street' a bittersweet cake we all can enjoy.

Like DeSica and Visconti, Monicelli uses post war Italy as the atmosphere in which these characters find themselves trying to eke out their lives. The recurring Italian film maker's theme of man against a complicated, bureaucratic life is no more evident than here. Throughout the film, the characters impressively quote Italian law by chapter and verse however this does not help them as they all have spent time in jail. The absurdity of knowledge without benefit of improvement is a another theme used. As Toto waxes eloquently regarding the sundry ways to break into a safe (one which the film goer is led to believe he knows nothing about), these men attempt to gain knowledge which they believe will deliver the big score. However even with knowing the apartment is empty, the type of safe the valuables are in and the way to gain access to the safe, their plan is flawed by their inability to execute what seems to them to be a fool proof blue print for success.

While Monicelli's themes ring as clear as the bell that has Peppe il pantera (Gassman) on the canvas, the characterizations of this band of misfits are classic. A stuttering, would be fighter (Gassman), and an out-of-work photographer who has sold his camera to survive (Mastroianni)lead the crew. The scenes played between Gassman's 'everything's easy' attitude and Mastroianni's inquisitiveness provide the viewer with hilarious cat and mouse verbal trade-offs.

In the end, 'Big Deal On Madonna Street' strikes a chord for viewers because we have all felt, at times, completely helpless by the absurdity of life and our pursuit for 'the prize' that we perceive will deliver us from our situation. However like this crew at the end of the film, we wake up every morning and realize that it's back to work to grind out another day.

"I soliti ignoti" is probably the movie I know better and one of the most beautiful pictures in the whole history of cinema. Wonderful charachters, fantastic plot (from "Ne touchez pas le Grisbi"), stupendous soundtrack, amazing screenplay, perfect photography. And funny, funny, funny, but realistic in the Italy of post war poorness. Gasmann plays the role that change his career; before this movie, nobody would believe that he was a brilliant comedy actor 'cause he was know only for dramas. Some unforgettable charachters, like Pisacane's Capannelle or Tiberio, a sicilan charachter played by a Sardinian ex dishwasher in the movie of their life. And Toto', incredible amazing in the role of the professor of crook. Is it possible for mr. Clooney to do anything better then him???

Tall, handsome Vittorio Gassman stars as Peppe, the womanizing glass-jawed palooka who, along with several keystone criminals, stumblebum their way to...not much. Also featured in this comedy by Italian film legend Mario Monicelli are Marcello Mastroianni and Claudia Cardinale, who would go on to fame and fortune, but here have only modest parts. Mastroianni, who would later star in La Dolce Vita (1960), Il Bell'Antonio (1960), Divorzio all'italiana (1961) and many others, plays Tiberio a photographer without a camera, whose wife is in jail, who has a constantly crying baby to take care of with one of his arms up in a sling with a board under it. Cardinale, who would go on to become one of Italy's most famous beauty bombshells, plays Carmelina, a young woman locked up by her brother in order to protect her honor until she marries.

Also featured are Carla Gravina (Nicoletta), a very pretty 17-year-old who went on to only a modest career, and the veteran Toto who plays the incompetent safecracker, Dante Cruciani. Notable is Renato Salvatori as Mario who wins Carmelina's heart, Memmo Carotenuto as Cosimo who fails at purse-snatching, and Carlo Pisacane as Capannelle who looks like an aged member of the Bowery Boys.

The story begins when Cosimo is caught trying to steal a car. In prison he learns of a nice sting that he can pull off if only he can get out of jail. So he tries to hire a scapegoat to confess to the crime so he can be freed. Finally Peppe, after getting knocked out in the first round of a prize fight, decides he needs the money. However when he goes to confess, the police see through the ruse and throw him in jail without releasing Cosimo. But Peppe does get out, and he and the motley assortment of would-be jewel thieves plot their crime amid hilarious missteps, pratfalls and mass confusion as they break into an apartment that they have the keys for to knock down a wall (which wall?) to gain access to a safe they probably can't crack. Will they succeed despite all the mishaps? There is a sense of both recovery and poverty in post World War II Italy in the backdrops and the asides and the circumstances of the characters that lend to this comedy a realistic edge. We see the petty thievery as an understandable and almost acceptable way of life, at least for the time being. Mario always buys or steals three identical things for his "mother" who turns out to be three women who raised him at the orphanage. Tiberio has to sell his camera and then steal one. Skinny Capannelle is always eating. And in the jail several men share one cigarette while they blow the smoke into a bottle to capture it so that others might get a little nicotine as well! (Sure, and I have some gum I can recycle.) The Criterion Collection DVD that I viewed has excellent yellow subtitles, but some of the lines come so fast and with such comedic as well as denotative intent that it is easy to miss something. Knowing Italian would help! See this for all the "bumbling criminal" movies that it both imitated and inspired, and for the fine work by the talented cast.

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One character approaches another to get him to take the rap for a crime. But he can't do it, so he suggests someone else. The third character can't do it either. Soon a half dozen people are in search of someone to take the rap. They eventually decide that they need someone without a previous criminal record. But none of them knows anyone without a criminal record.

I had no idea it was going to be a comedy when I first started watching it. By the end I was laughing out loud. It's a little slow, but many Italian movies are a little slow and caper films usually build slowly. But it is thoroughly enjoyable with some gags that I've never seen anywhere else in film. Cosimo's bank heist was very amusing.

If you've just recently watched The Bicycle Thief, and are depressed by the bleakness of life shown there, this movie is the perfect antidote. It shows the lighter side of people who are down on their luck.

One day, there's gonna have to be a festival for heist-themed movies. "The Killing", "Topkapi", "The Italian Job", "The Bank Job" and the Ocean franchise are obvious entries, but Mario Monicelli's Academy Award-nominated "Big Deal on Madonna Street" ("I soliti ignoti" in the original Italian) also needs to be in there. Unlike most of the heist-themed movies - either lighthearted comedies or film noirs - this one is a farce. Basically, all sorts of mishaps befall the criminals in the process of the planning and execution. Talk about commedia dell'arte!

This strikes me as one movie that they had a lot of fun filming, and I highly recommend it. Don't listen to anyone who's not interested in watching old movies/black and white movies/foreign movies. If ever there were one of those movies that you have to see, it's this one. It's a mamma mia of the best type!