It's a shame you're a rascal

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Movie
German title It's a shame you're a rascal
Original title Peccato che sia una canaglia
Country of production Italy
original language Italian
Publishing year 1954
length 97 minutes
Rod
Director Alessandro Blasetti
script Sandro Continenza
Suso Cecchi d'Amico
Ennio Flaiano based
on a story by Alberto Moravia
music Alessandro Cicognini
camera Aldo Giordani
cut Mario Serandrei
occupation

The Italian film comedy It is a pity that you are a rascal brought together Sophia Loren and Marcello Mastroianni for the first time on the screen in 1954 . At this point, neither of them were big stars in the movie sky. They then appeared together in other films, often together with Vittorio De Sica, who was involved here . Loren remembered: “The spark jumped over immediately between de Sica, Marcello and me. (...) we immediately felt the conspiratorial bond of all Neapolitans for one another. We had the same sense of humor, the same rhythm of life, the same philosophy of life; the same cynicism lurked behind our lines of dialogue ”. Peccato che sia una canaglia , as the original title is, is described as a “light”, “amusing”, “lovable” comedy. Directed by Alessandro Blasetti .

As Cur became Loren to the Italian sex idol of the 1950s, as Christina Tilmann executed in the book "Dream Women": "Wide hips under full skirts that swirl seductively across the street, a bag, actually more of a bag, they back swings back and forth, and a mouth that never stands still. ”Regarding the acting performance, Yvonne Rehhahn said:“ Even if Sophia Loren's “acting” can be seen in her gestures and movements, her intuitive balance between sex appeal and comedy is not embarrassing. "

action

The Roman taxi driver Paolo, with honest skin, would like to earn the first installment for his newly acquired vehicle. Two young men, accompanied by the delightful Lina, let themselves be driven to Ostia beach . There they seemingly move away, and Lina lures Paolo away from the car, bathing and flirting, but the attempted theft fails because of the alarm system. After the men have escaped, Paolo wants to take the girl to the police station because he sees through her lies. Shortly before the goal she also manages to escape, and Paolo wants to forget her until she runs into him again a little later.

Paolo soon gets to know Lina's family, initially without realizing that they make a living from petty criminal skills: the noble father is a pickpocket , the grandmother takes his wallet and the children know how to steal the tires of a car. Paolo feels confused by the quick-witted and eloquent Lina and is attracted to her again. A cigarette case with a love dedication from "L.", which she gives him, turns out to be stolen from his boss. When Lina's father is in a hurry to get home after a theft, he gets into Paolo's taxi and urges him to drive quickly, which leads to a collision with an Indian diplomat. The slightly injured Paolo is confronted with a payment claim of 90,000 lire. He admits his love to Lina, who takes care of his injuries, which she initially rejects. Suddenly he notices that Lina, her father and the two boys are getting into a bus and also takes a seat there. Lina makes the decoy and distracts a gentleman whose father is stealing his wallet. Paolo prevents the crime and directs the family, the victim and his wife, an accompanying police officer and witnesses to the police station. With clever tactics, Lina's father succeeds in confusing the crowd and in making Paolo, who urgently needs a lot of money, a suspect. The case vanishes into thin air. Lina waits for Paolo, tells him to slap her in the face, and they decide to get married.

Contemporary criticism

In 1955 the film service reassured : “Is this an immoral film, a glorification of crime, a lesson in the practice of stealing? Hardly likely. That is not how the film is meant, that is how it will be understood by very few. ”The pleasure and the“ good mood that one has to have in order to feel at home in such dubious company ”is adversely affected by“ lengths and trivialities ”.

Web links

Individual evidence

  1. ↑ a b Yvonne Rehhahn: Peccato che sia una canaglia . In: Deutsche Kinemathek Foundation: Sophia Loren . Henschel Verlag, Berlin 1994, ISBN 3-89487-203-9 , pp. 44-45
  2. ↑ Sophia Loren in her autobiography Sophia. Life and love . Heyne, Munich 1979, ISBN 3-453-01200-3 , p. 108
  3. ↑ a b Christina Tilmann: Shy Kanaille . In: Gabriele Jatho and Hans Helmut Prinzler (eds.): Dream women - Stars in the film of the fifties . Bertz + Fischer Verlag, Berlin 2006, ISBN 3-86505-170-7 , pp. 109–111
  4. ↑ Jean Tulard (ed.): Guide des films . Laffont, Paris 2005, ISBN 2-221-10451-X , p. 1011
  5. ↑ Dirk Manthey, Jörg Altendorf, Willy Loderhose (eds.): The large film lexicon. All top films from A-Z . Second edition, revised and expanded new edition. Volume V (S-U). Verlagsgruppe Milchstraße, Hamburg 1995, ISBN 3-89324-126-4 , p. 2381 .
  6. ↑ film-dienst , No. 35/1955, drawn by “W. Ba. "