Il bidone

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.

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).

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?

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.