Il Bidone (1955)

Il Bidone (1955)
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Swindle and The Swindlers are both English-language titles for 1955's Il Bidone, a lesser-known effort from Federico Fellini. Broderick Crawford, Richard Basehart, and Franco Fabrizi play a trio of con artists who victimize the Italian bourgeoisie (who are shown to be no better than the crooks). Giueletta Masina (Fellini's wife), who had previously costarred with Richard Basehart in La Strada, here plays Basehart's wife. Humphrey Bogart had been intended for the role played by Broderick Crawford; one wonders how Crawford's self-deprecating curtain speech about the hollowness of his existence would have played in Bogart's hands. Swindle was not released to the US until nine years after its completion. ~ Hal Erickson, Rovi

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Starring:
Broderick CrawfordRichard Basehart, (more)
Director(s):
Federico Fellini
Format(s):
DVD
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Synopsis of Il Bidone

Swindle and The Swindlers are both English-language titles for 1955's Il Bidone, a lesser-known effort from Federico Fellini. Broderick Crawford, Richard Basehart, and Franco Fabrizi play a trio of con artists who victimize the Italian bourgeoisie (who are shown to be no better than the crooks). Giueletta Masina (Fellini's wife), who had previously costarred with Richard Basehart in La Strada, here plays Basehart's wife. Humphrey Bogart had been intended for the role played by Broderick Crawford; one wonders how Crawford's self-deprecating curtain speech about the hollowness of his existence would have played in Bogart's hands. Swindle was not released to the US until nine years after its completion. ~ Hal Erickson, Rovi

Theatrical Feature Running Time:
91 mins

Complete Cast of Il Bidone


Director(s):
Federico Fellini
Writer(s):
Tullio PinelliEnnio FlaianoFederico Fellini
Producer(s):
Mario Derecchi
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Andrea P.

Blockbuster's synopsis seems to be describing some other film. This is a morality play about what happens to a man's soul when he makes his living as a con artist. What he stands to lose is far greater than what he gains, and, for a conflicted conscience, redemption may be something only wished for. As in other Fellini films, some of the scenes seem extraneous and slow the pace, but the narrative is nicely rolled out, and, mercifully, we are completely spared Fellini's infamous and irritating dream/circus/fantasy sequences. For Giulieta Masina fans, this film is a treat. While Fellini seems to have held a very poor opinion of mankind, he always cast his wife in the roles of reputable characers. (Even Cabiria, the prostitute, had a good heart.) This is one of the more intriguing and realistic of Fellini's works, although it tends toward the morose; so be forewarned.

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