How to Bungle a Heist

An Italian film poster for the 1958 crime caper comedy BIG DEAL ON MADONNA STREET, directed by Mario Monicelli.

While some point to The Asphalt Jungle in 1950 as the film that really marked the emergence of the heist film, the genre had actually been in existence since the silent era with The Great Train Robbery (1903) a prime example on up through the forties with such influential efforts as High Sierra (1941). It is true, however, that the heist film became an international phenomenon in the fifties thanks to the worldwide success of Jules Dassin’s Rififi (1955) which set the standard for subsequent films such as Stanley Kubrick’s The Killing (1956) and Jean-Pierre Melville’s Bob Le Flambeur (1956). It was inevitable that some filmmaker would eventually poke fun at the then-current craze but nobody expected it to come from Italy in what is now regarded as possibly the finest heist parody of all time – Big Deal on Madonna Street (1958). Directed by Mario Monicelli, the film was known in Italy as I Soliti Ignoti and was also released under the alternate title of Persons Unknown.

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The Neopolitan Trinity

Vittorio De Sica (left), Sophia Loren, Marcello Mastroianni in TOO BAD SHE'S BAD (1955)

Vittorio De Sica (left), Sophia Loren, Marcello Mastroianni in TOO BAD SHE’S BAD (1955)

Often overlooked or dismissed as a minor comic trifle, Peccato che sia una canaglia (English title: Too Bad She’s Bad) has, in recent years, acquired a much more favorable reassessment from film scholars and film buffs due to occasional revivals on Turner Classic Movies and a 2004 DVD release from Ivy Video. It not only has a delightful, rakish charm and evocative on-location filming in Rome but showcases three of the most iconic names in Italian cinema directed by the legendary Alessandro Blasetti, whose career began in the silent era and spanned six decades. Also noteworthy is the fact that the film is based on the short story Il fanatico by Alberto Moravia, the celebrated Italian novelist who saw many of his novels turned into major films – la ciociara became Vittorio De Sica’s Two Women, Il disprezzo became Jean-Luc Godard’s Contempt and Il conformista became Bernardo Bertolucci’s The Conformist. Continue reading