IMDb RATING
7.5/10
7.2K
YOUR RATING
A trio of con-men led by a lonesome swindler must deal with their job and family pressures.A trio of con-men led by a lonesome swindler must deal with their job and family pressures.A trio of con-men led by a lonesome swindler must deal with their job and family pressures.
- Awards
- 2 nominations
Storyline
Did you know
- TriviaThe Swindle (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 Nights of Cabiria (1957). All three are key works marking the last great moments of Italian neorealism, which was waning as central figures like Roberto Rossellini and Vittorio De Sica moved on to different genres. In the 1950s, he still held the neorealist conviction that nothing is more dramatic than the lives of ordinary people transferred to the screen with a minimum of embellishment.
- Quotes
Augusto: We've gotta figure out something better. We can't go on like this.
Roberto: Who's saying we should? I'm not an idiot. This is just for fun, just to keep us going. I'm going to sing. When I save up some money, I'll take lessons. I've bought all the Johnnie Ray's records. He's really my style.
Augusto: You'll never take lessons.
Roberto: I'm not ending up like you!
- Alternate versionsThe Prime Video master, circulating on subscription services such as FilmBox, has been censored to blur out shots of actors smoking.
- ConnectionsEdited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)
Featured review
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.
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.
- tim-764-291856
- Jan 9, 2011
- Permalink
Details
- Runtime1 hour 32 minutes
- Color
- Aspect ratio
- 1.33 : 1
Contribute to this page
Suggest an edit or add missing content