Amelia and Pippo are reunited after several decades to perform their old music-hall act (imitating Fred Astaire and Ginger Rogers) on a TV variety show. It's both a touchingly nostalgic ... See full summary »
In 1914, a luxury ship leaves Italy in order to scatter the ashes of a famous opera singer. A lovable bumbling journalist chronicles the voyage and meets the singer's many eccentric friends and admirers.
Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.
Cinecitta, the huge movie studio outside Rome, is 50 years old and Fellini is interviewed by a Japanese TV crew about the films he has made there over the years as he begins production on ... See full summary »
Aging small-time con man Augusto, who swindles peasants, works with two younger men: Roberto, who wants to become the Italian Johnny Ray, and Bruno, nicknamed Picasso, who has a wife and daughter and wants to paint. Augusto avoids the personal entanglements, spending money at clubs seeking the good life. His attitude changes when he runs into his own daughter, whom he rarely sees, and realizes she's now a young woman and in need of his help to continue her studies. His usual partners are away, so he goes in with others to run a swindle, and they aren't forgiving when he claims he's given the money back to their mark. They leave him beaten, robbed, and alone. Written by
When Augusto and his daughter are sitting in the open-air café, the watch he is giving to his daughter jumps from his hand to on her wrist immediately. See more »
You give your wife every cent! Jerk!
[Trying to get approval]
But, Augusto, I...
People like us can't have families. One must be free to move. You can't have a wife. You must be alone. The most important thing when you're young is freedom. It's more important thn the air you breathe. You're scared now! What will you do when you're my age?
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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.
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