6.9/10
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7 user 5 critic

Peccato che sia una canaglia (1955)

When young and attractive Lina Stroppiani, a thief like the rest of her family, tries to steal the taxi of Paolo, together with two accomplices, she can't possibly know that this will have ... See full summary »

Writers:

(story "Il fanatico"), (subject & scenario) | 2 more credits »
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Cast

Cast overview, first billed only:
...
Vittorio Stroppiani
...
Lina Stroppiani
...
Paolo
Giorgio Sanna ...
Peppino
Michael Simone ...
Totò
Margherita Bagni ...
Elsa, moglie di Michele
Wanda Benedetti ...
Valeria, moglie di Carletto
Maria Britneva ...
La turista inglese (as Maria Britnewa)
Manlio Busoni ...
Il funzionario della Casa per il Mezzogiorno
Giulio Calì ...
La guardia notturna
Pietro Carloni ...
Il signore intriguante
Memmo Carotenuto ...
Cesare, il tassinaro
Marga Cella ...
La padrona del bar
Pasquale Cennamo ...
Nino Dal Fabbro ...
Il radiologo
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Storyline

When young and attractive Lina Stroppiani, a thief like the rest of her family, tries to steal the taxi of Paolo, together with two accomplices, she can't possibly know that this will have far reaching consequences... Written by Michel Hafner <mhafner@imdb.com>

Plot Summary | Add Synopsis

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NOW she uncovers her most talked-about talents! See more »

Genres:

Comedy | Romance

Certificate:

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Details

Country:

Language:

Release Date:

29 April 1955 (Belgium)  »

Also Known As:

Dommage que tu sois une canaille  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.66 : 1
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User Reviews

 
Pickpocket comedy with Italian screwballs...slight but sunny
17 November 2009 | by (las vegas, nv) – See all my reviews

A young Sophia Loren momentarily entrances a young Marcello Mastroianni as a ruse for her friends to steal his taxi; he thwarts them and sees her home, only to find out soon enough she's also a pickpocket, and her wily papa works a luggage-stealing scheme down at the train station. Minor yet exquisitely breezy and uncomplicated Italian farce, with sexy asides and feisty banter no doubt charming American audiences who went to see this under the title "Too Bad She's Bad". We never really learn when Mastroianni's cabbie actually falls for the curvaceous Loren, just as we never discover when her feelings for him become anything other than business-related, but that's the beauty of the set-up. No scenes punctuate the weightier issues because the movie is issue-free. The most substantial exchange of dialogue comes late in the film between Sophia and father Vittorio De Sica as they discuss love: "No one ever died from heartbreak," he tells her. "In fact, that is what prolongs life." ** from ****


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