User reviews

The middle chapter in Fellini's "trilogy of loneliness", made by a master between "La Strada" (1954), and "Nights of Cabiria," (1957), "Il Bidone" (1955) is less known, for long time simply forgotten (and I can't imagine why) but powerful, humorous, heartbreaking, and poignant film. Broderick Crawford, Academy Award winner for playing Willie Stark, a corrupt politician and a charismatic man in "All the King's Men" (1949), gives a compelling performance as Augusto, an aging con man, a leader of a trio of small time crooks who take advantage of poor and uneducated Italians in both country side and poor quarters of Rome. Augusto realizes at the age of 48 that his life of selfishness, greed, and wrongdoings only made his existence meaningless. Once in his life, he decided to con the con men in order to help his daughter whom he rarely sees but deeply loves with fulfilling her dreams of better life but a swindle gone wrong leads Augusto to the final scene of pain, both physical and mental, to loneliness and desperation. It is very much like "Nights of Cabiria" final scene but without eternal hope of Cabiria's smile…

Technically, "Il Bidone" is a very strong film with memorable performances, including the smaller cameos. Fellini's directing is as satisfying as always and many scenes remind of his future triumphs (New Year party is a stunning sequence and brings to mind "La Dolce Vita", 1960 ). Nino Rota's music and Otello Martinelli's cinematography add to many pleasures of the film, one of them is Giulietta Masina who plays supporting role of Iris, the wife of Picasso (Richard Basehart), the younger con artist with a dream to become an Artist. Both, Masina and Basehart starred in Fellini's first chapter of "trilogy of loneliness", "La Strada" (1954).

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.

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.

This is a richly poetic film, a stark portrait of three con-men who make their living by swindling the poor out of what little money they have. The film moves back and forth between the scams they pull in the countryside and their lives in the city between jobs. The group's leader is Augusto, played expressively by the great Broderick Crawford. The other two con men are Roberto (Fabrizi), a lady chaser and risk-taker, and Picasso (Basehart), a family man and painter. Picasso's wife Iris is played by the great Giulietta Masina. Crawford (who won an Oscar for "All the King's Men," a film I need to see) is really excellent as Augusto, who begins addressing the matter of his conscience when by chance he runs into the daughter he has abandoned.

The party and dance scenes in the film's first half are really fantastic and crazy, full of men and women dancing to Nino Rota's music, crazy situations and fights arising, lots of drinking, lots of people looking at the camera (including a photographer who bounces up from the bottom of the frame, takes a picture, and kneels back down out of sight…that's typical Fellini there). For all of the fun that's present in this film, it takes some very moving and sad turns...and the amazing thing is how Fellini balances something funny and surreal to something truly heartbreaking (the film's final 15 minutes are stunningly touching).

Nino Rota's score is, as always, marvelous and really nails the feel and tone of the film. There are many themes, including a somber theme for Augusto's daughter, a really eccentric circus march theme, and lastly a terrific emotional theme that especially pulls into sharp effect in the film's closing moment. All of his themes are cleverly adapted in many variations bouncing between different styles of music- from mambo to wildly eccentric dance to rather Arabian to his typical circus-like music to just as often something very dramatic and emotional. This great score was released by CAM records just a couple years ago, it includes most of the music that's in the film, and is a great listen for Rota fans.

`Il Bidone' is the most ignored and overlooked film in Fellini's body of work, which is unfortunate. It's truly unforgettable how it depicts struggle, loneliness, and utmost guilt in the loveliest and most poignant ways imaginable.

I've seen LA STRADA a few times, but had never even heard of IL BIDONE. Spotted it among a batch of new DVDS at a friend's place, and gaped at it, amazed. Broderick Crawford (?!) in a Fellini? This I HAD to see! Took it home, popped it in...and was completely blown away. A great performance from Crawford, many indelible moments, and an emotionally shattering climax. In many ways I preferred it to LA STRADA -- felt it was less manipulative. Dug out the various movie guides, read some reviews, and learned it was part of Fellini's "Trilogy of Loneliness" -- LA STRADA, IL BIDONE & NIGHTS OF CABIRIA. So I sought out CABIRIA and enjoyed it immensely as well.

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.

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.

Il Bidone is the story of an old and tired con man, who one day, when it's too late, finds himself transformed after he's gone through a redemption of sorts. One of Fellini's least seen films, and unfortunately for viewers in the US, a cut version has been the only one available since its initial release. Even still, it's an amazing film. As I remember it was Truffault who said of Il Bidone, 'I could watch Broderick Crawford die for hours!' And he was very right. Crawford tended to be such a hack in the vast majority of his work for films and TV, but Fellini got an extraordinary performance out of him. Makes you wonder if he was capable of things like this all the time - if so - what a sad loss for us. He was a really bad alcoholic and Fellini kept having to change the script, but later in life said it turned out better that way. If you cry while watching La Strada and Le Notti di Cabiria, Il Bidone will make you cry much more. A forgotten and neglected classic. Proof again of Fellini's astonishing love and compassion for all humanity.

I've seen La Strada described as Fellini's bridge film from his earlier, more grounded works, into his more elaborate spectacles that defined his later career, but that title should probably go to Il Bidone. It carries hallmarks of both eras and feels like it could fit easily in parts in both. There's a big party scene that feels right out of La Dolce Vita and the entire second half feels like it comes from the more grounded films like La Strada.

One thing about this story that strikes the audience from the start is how unrepentant and awful the main characters are in their work. Il bidone translates to "the swindle", and that's exactly what this group of three men do: they swindle money out of poor, remote farmers with a fake chest of gold and jewels that they buried in their field earlier. Dressed as priests from the Vatican with a letter in hand supposedly written by a repentant murderer, they show the chest to the farmers, and then detail the rest of the letter which insists on five hundred masses being said in St. Peters for the sake of forgiveness of the murderer. Those cost money, so the farmers have to sell everything to pay for the masses and, in return, they receive the chest of gold, which is actually worthless. They steal everything from these poor people, and the movie never softens that about them.

The three men are Augusto, Picasso, and Roberto. Augusto is the eldest by far, a man long in the same game (similar to how Zampano ended up in La Strada). Picasso has a family with a wife (Iris, played by Fellini's wife Giulietta Masina) and wants to go straight, having fallen into this life. Roberto dreams of bigger cons and a more lavish lifestyle. The two younger men are looking forward, and Augusto ends up looking back for most of the film. They're all trapped in the life they lead to a certain extent, with dreams of finding something else to do to pay for the things they want, but it's Augusto, the one with the most time in the game, who seems both the most desperate to get out and the least able to.

The central section of the film is around the giant party that Rinaldo, an old acquaintance of Augusto's, throws that sees all three men, along with Iris, showing up. It's the starting point of the eventual collapse of the group with Iris finally finding out the kind of work that Picasso has been practicing and hating it and Roberto burning his potential bridges for moving up in the Roman game by stealing a gold cigarette case from one of Rinaldo's guest. Augusto is impotent in the party, though, trying to rope Rinaldo into one scheme or another that Rinaldo considers small time while dismissing him politely.

Eventually Augusto's past catches up to him when he takes his estranged daughter to the movies where one of his past marks identifies him and has him arrested, and everything falls apart. Augusto spends some months in prison, but when he gets out Picasso and Roberto have both moved on. All Augusto can find is the man who helped him put together the jobs, the Baron, and Augusto continues with his work, dressing up like a priest with a new crew.

Now, this movie's emotional impact ends up blunted because of the character's completely unrepentant behavior. Augusto goes on a final swindle, listens to the story of the young, crippled girl, keeps the money, tries to tell his associates that he gave the money back but he hid it on his person. His associates beat him, take the money back, and leave him on the side of the rarely used road. As he lays there dying, he never atones for his sins, he just receives the punishment for his years of bad behavior. He's been earnest in his desire to see a better life, but he's never been able to get out. His way out was through, by swindling his fellow swindlers, and he got caught. There's no attempt at redemption, and his final calls at the end are brought on by his own physical pain and threat of death. It's an interesting contrast to Zampano's similar ending in La Strada. There, Zampano saw his failings through the pain he had caused someone else, but here Augusto only sees his failings through his own pain. That internal direction makes the ending feel less emotionally rounded and complete, like the last gasp of a dying man rather than a true moment of self-reflection.

As a transitional movie, it's interesting. That party scene really does feel almost out of place with the rest of the movie that has a more grounded feel, but it's still remarkably well handled. It's easy to see who is doing what and who is talking to whom with constant action swirling around. The ending has a muted impact, but everything else in between is the very solid kind of character based storytelling that Fellini had developed. It's certainly a step down from I Vitelloni and La Strada, but it's indicative of where Fellini was going to go next.

(1955) Il bidone/ The Swindle (In Italian with English subtitles) CRIME DRAMA

Co-written and directed by Federico Fellini, somewhat metaphorical Italian movie centering on swindlers headed by Broderick Crawford as Augusto involving himself along with two other cohorts of Roberto (Franco Fabrizi) and Carlo nicknamed as Picasso (Richard Basehart), swindling a couple of old ladies their life savings by submitting a box full of worthless jewels in exchange for their money, leaving viewers asking whether they are going get caught or face some kind of consequences. Minor effort by an accomplished director.

Augusto (Broderick Crawford) and his pals mimicking religoius make a living conning peasants out of life savings. His younger associates dream of a future away from this racket with unrealistic aspirations while Gus knowing he has reached a dead end party's on. One day he runs into his daughter in Place de Popolo and faces the realization he's been a dreadful old man. Determined to make it up to her he fields a new team and then double crosses them.

Il Bidone is Fellini's worst film of his B&W era. The tin eared casting of brooding Irish American Crawford is totally unconvincing as he mopes about through most of the film arms at his side. Lacking both the passion and nuance of Quinn's Zampano in La Strada, Brod looks conspicuously out of place. Road holdovers Giuletta Massina and Richard Basehart also contribute inferior parts as well with Messina mugging and Basehart a cringing sychophant.

Fellini's direction is rather erratic with banal imagery and some heavy handed symbolism along the way. A semi-debauched New Year's party fails to even hint at similar scenes constructed and edited with aplomb in La Dolce Vita and 8 1/2. Il Bidone is forgettable Fellini.

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.

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).

What a sad film. Broderick Crawford heads a small band of con men but is getting too old and pathetic for the game. He is brilliant in the role and we barely sympathise with him once as he gradually fades away. The men are wretched to their women. There is a woman in the front car seat who gets thrust into the windscreen to accommodate a hoodlum getting or out behind her and another forced to strip by a bunch of guys at a party. The only moments where any sort of humanity show through is when Crawford decked out as a priest gets told the wonder of life by a young crippled girl he is about to ruin. I guess things must have been bad in Italy after the war and actions such as squeezing life savings out of peasants seemed fair game but it is wretched to watch grown men stoop so low. Great film making though and Fellini is so assured a prison sentence is dealt with by use of a fade. Hardly a feel good movie but well worth seeing.

Il Bidone mayn't make my top 5 of Fellini movies like Nights of Cabiria, La Dolce Vita, 8 1/12, Amarcord and La Strada. But along with Ginger and Fred it makes my top 7. Il Bidone is superbly directed as ever by Fellini, and looks absolutely beautiful with the sweeping cinematography and scenery. The music score by Nino Rota is bright and jaunty in tone with enough of the sumptuous orchestration to make his wok distinctive. The story is both charming and moving, with a nostalgic feel that is further accentuated by Fellini's direction and Rota's score. Broderick Crawford in the lead gives a heart-breakingly moving performance, and you do feel sympathy for his character. The rest of the acting is strongly characterised, but Crawford is the one who really stands out in the memory.

Overall, one of Fellini's best and unjustly overlooked. 10/10 Bethany Cox

The Swindle starts off feeling like a lightweight crime/comedy, but gets a little sadder and more serious as it goes along. As far as early Federico Fellini films go, it's pretty good, but as a whole, not quite as strong as his very best films are.

Still, even the comedic scenes often feel unusually bleak, given the conmen this movie follows often seem to scam people who are already struggling financially. In that way, I feel like it might be commenting on the bleakness of post-WW2 life in Italy, just not in the way famous neorealism films from the country did in the late 1940s and throughout the 1950s.

But when it comes to Fellini as a director, the guy just couldn't help himself when it came to staging big party scenes, could he? A New Year's Eve party that feels as though it takes up most of the second act here really hurts the pacing overall. On and on it goes, with all the Fellinisms you'd expect. Just five or so minutes being trimmed would've made a difference to the overall film.

But pacing aside, a lot of this is very good. The performances work well, I didn't notice as much bad dubbing as usual, and it's a film that looks great, too. The flow - or lack thereof - stops it from being great, but there's thankfully still a good deal to like here.

The Swindle (Il Bidone) 1955 I have lately been watching Fellini's older films some of which were not available even on VHS. My first Fellini film (1973) at the ripe age of 19 was Satryicon at the Texas Tech Student Center Movie Theater. I was shocked to say the least and understand the film more now than then. Though about a swindle the film is more about the swindler's (plural). This film introduces us to Fellini's excesses and long interest in flamboyance and grotesque no matter if you are rich or poor. Also the film delves into his interests in the Rich their costumes and material possessions and how they flaunt themselves in public arenas. It was between "La Strada" (1954), and "Nights of Cabiria," (1957), "Il Bidone" (1955) is less known but powerful, humorous, heartbreaking, and poignant film. Broderick Crawford gives a compelling performance as Augusto, an aging con man, a leader of a trio of small time crooks who take advantage of poor and uneducated Italians in both country side and poor quarters of Rome. Augusto realizes at the age of 48 that his life of selfishness, greed, and wrongdoings only made his existence meaningless. Once in his life, he decided to con the con men in order to help his daughter whom he rarely sees but deeply loves with fulfilling her dreams of better life but a swindle gone wrong leads Augusto to the final scene of pain, both physical and mental, to loneliness and desperation. It's desperation is similar to Nights of Cabriria (which is an even more powerful film) Here the movie is very spare, the cons not particularly interesting as cons, but very weighty in symbolism. Augusto's meeting with his estranged daughter his working his way back towards humanity costs him dearly. Shows us the awakening and demise of Augusto - not as a lesson in morals, but as one in storytelling. Guilietta Masina (Mrs. Fellini) as Iris, appears as a devoted wife of Carlos. This DVD from a complete restoration Criterion DVD release a few years back. Very interesting and powerful neo-realistic film. . Really I have grown to prefer his earlier films.

A bunch of con artist and their exploits on the unfortunate, Fellini style. But this movie cannot decide which character is the focal point of our attention until the final twenty minutes. By that stage it is all too late. An interesting early effort from Fellini.

Augusto (Broderick Crawford) is a con man. He cheats simple persons with two friends of him. He has a daughter, who lives with her mother and does not know the activity of his father. This simple story is basically supported by the talent of the direction of Fellini, in the beginning of his outstanding career, and the performance of Broderick Crawford. Although not being in the list of the most famous works of Fellini, this film is wonderful and very touching. My vote is eight.

Title (Brazil): `A Trapaça' (`The Cheat')

This film belongs to a rather neo-realistic period in Fellini's filmography, presumably just before he formed a very personal style. the film describes a way of life of selfishness and irresponsibility exemplified by a character in the middle of it all, and scrutinize as the protagonist's conscience eventually kicks in. but nothing comes easy; Augusto had to really hit rock bottom to release himself and finally be capable of redemption. at points, it's like he's punishing himself to get to the poorest state he can get to, and lose everything that connects him to his dreadful and pathetic past; and it was probably necessary for him. Fellini, i found, is superb in portraying desolation, struggle and guilt, and is able to maintain a decided tone in a film even if he displays distinctive elements from time to time.

As the con men in Il Bidone go from scamming poor, hardworking people out of their money out in the dusty country to enjoying themselves in style with the affluent in the city, I got the idea that this film could be read as an indictment of the wealthy (and perhaps even the Catholic Church), who take advantage of the working class to amass their riches and power in this world. The biggest con of all, the one holding the New Year's Eve party, has everything he wants in life and has quit the racket; it seems there are the those who've made it by exploiting others, those who are still trying to get there, and the impoverished, slaving away and just getting by. The scenes of the villagers clamoring over the possibility for long-promised government housing are brilliant and heartbreaking, and I was mesmerized by the audacity of the scheme played on them and its cruelty.

The film thus worked on several levels for me: as crime drama, the commentary about humanity and wealth inequality set in post-war Italy, and for having its conscience represented in its female characters. It's hard to know precisely where it's going because a couple of the gang members are going through changes in life, one with a wife who suspects he's up to no good, and another with getting older and maybe realizing his successful career in crime cost him some important things, his relationship with his wife and daughter. Ironically this ends up being more of the drama than law enforcement closing in. I loved how realistic the film was in this regard, and how it was unflinching it was all the way to the end, avoiding Hollywood cliches. Great storytelling from Fellini here, fine cinematography, and strong performances from the cast.