Os Eternos Desconhecidos

"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???

I suspect that it's hard to find this gem for rental purposes, which is a shame. A take-off on the classic French film noir, Rififi, it stands up wonderfully and deserves greater recognition. Monicelli is too little known as a director in the US, I think. Louis Malle attempted a remake of this some years back, to disastrous effect, and now there's a new attempt out, called "Welcome to Collinswood"; my hunch is that, while it might be better than the Malle version, it won't match the original. A group of bumbling small-time thieves plan and try to execute a heist, but nothing goes right. As the gang's leader, a punchy boxer with more attitude than ability, Vittorio Gassmann is wonderful, as is everyone else in the cast. Special notice should be given to the marvelous character comedian, Toto, and--in a small role, buried well down in the credits, the young Marcello Mastroianni. Also featured is another youngster, Claudia Cardinale. If you've seen Rififi, you'll find this comedy a particular joy. If you haven't, you'll like it, anyway. Why doesn't someone rerelease this?

An ensemble movie with multiple minor stories built around the main theme of a big heist on Madonna Street. Half a dozen or so hapless crooks decide to apply "scientific methods" to their plan to sneak through coal chutes and over rooftops into a vacant apartment. They will then use a car jack to break through a wall into the office next door where a fortune is stashed away in a safe. That's about as far as medical discretion will allow me to go in revealing the plot.

There have been many carefully planned caper movies, before and after this one, like "The Asphalt Jungle." Some have even been turned into comedies, like Woody Allan's "Small Time Crooks." But this was one of the first I'm aware of that turned the caper movie into a ridiculous farce.

I think I'll give one example of the kind of gags you can expect, to illustrate the style. To get to the vacant apartment the thieves must tiptoe across a skylight in the middle of the night and climb through a window on the other side. They are slipping along the metal framework, cursing each other, when suddenly blinding lights go on in the room underneath them and they must throw themselves flat on the glass to avoid detection. A young couple enter the room below and begin a loud argument about whether she really loves him and whether he's been unfaithful to her. The accusations are shouted back and forth, while 10 feet above them the immobilized gang alternately doze and gesture impatiently at one another as their carefully plotted timetable is all shot to hell.

Well, alright, one more. One of the gang, a master photographer, Marcello Maistroianni, is assigned to make a movie of the opening of the safe, shooting from across the rooftops through an open window, so the combination will be registered on film. The gang watch the resulting film and moan while pairs of underpants on a clothesline drift across the office window and there are inserts of the photographer's baby crying. At the moment the combination is to be revealed the film stutters and slips off its sprockets.

I can't help it. Stop me before I describe more. Okay -- last one. Two men have an argument in which a knife is produced. They fling angry insults back and forth, and one of them departs, slamming the wooden door behind him. The remaining man sneers at the door and hurls the knife at it. The knife doesn't stick, it bounces off.

It's really impossible to recommend this too highly. What a lot of fun.

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.

"Rififi" was a wonderful heist film and spurred on similar films like "Bob le Flambeur" and "Grand Slam". All these films showed elaborate robberies that were carried out with perfect precision. The teams were professional and highly skilled in each. However, with the Italian film "Big Deal on Madonna Street", we have a film that appears a lot like these other films but turns out to be a comedy of errors--where NOTHING goes right.

The film begins with a guy getting caught for a petty crime and sent to jail. The problem is that he has a good plan for a robbery that will make him rich--and he and his gang of inepts cannot do the heist. So, they find an idiot who is willing to take credit for the crime that the boss is in jail for so that he can be released. Well, things DON'T work as they plan...and that's pretty much the way the entire film goes.

This comedy is pleasant and enjoyable. However, I did not love the film and didn't quite enjoy it as much as the average viewer. It isn't that I disliked the film...it's just that it never really made me laugh out loud very often. It was funny...but only mildly so. Decent acting, however, and I did enjoy watching everyone yell so much....and made me wonder if this is in any way true of Italians (I sure assume it's not)!