The neorealistic story follows the uneventful lives of Francesco, Sergio and Antonio, three young men, who live in a small, poverty-stricken village. Since all three are unemployed they ... See full summary »

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Cast

Cast overview:
Antonio Petruzzi ...
Antonio
Stefano Satta Flores ...
Francesco
Sergio Ferranino ...
Sergio
Luigi Barbieri ...
Antonio's father
Flora Carabella ...
Luciana Bonfanti
Mimma Quirico ...
Aunt Maria
Enzo Di Vecchia ...
Friend
Rosetta Palumbo ...
Rosetta
Rosanna Santoro ...
Anna
Manlio Blois ...
Nicolino
Marisa Omodei ...
Cicci D'Andrea
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Storyline

The neorealistic story follows the uneventful lives of Francesco, Sergio and Antonio, three young men, who live in a small, poverty-stricken village. Since all three are unemployed they while their time away roaming the streets and chasing girls. One day Antonio's aunt asks him to stay with her and his cousins in Rome. He accepts her offer and enrolls at a university in Rome leaving his two friends behind who envy him for his new upscale lifestyle. But eventually Antonio returns to the village, initially just for a day. Though he boasts about his life, he never goes back to Rome and instead opts for his friends and the place he grew up in, despite all its shortcomings. Written by Tas Papadopoulos

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title directed by female | See All (1) »

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2 September 1963 (Italy)  »

Also Known As:

The Basilisks  »

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User Reviews

 
The Italian, American Graffiti
21 December 2014 | by (Switzerland) – See all my reviews

Lina Wertmüller's directorial debut "I Basilischi" (The Basilisks or The Lizards) is a 1963 little known wonderfully written and directed masterwork of Italian Neorealismo. This keenly satiric and galvanizing movie features simplicity in both its story and execution; so unique so special. It sparkles with cinematic magic unlike any other film today. Wertmüller's lean, sharp graffito seduces and functions almost like a parable, in a number of remarkable ironic insightful vignettes, pure motives which alone drive the narrative of the picture forward. Filmed in a detached pictorial black and white, Gianni Di Venanzo, post-war cinematographer, made fundamental contributions to Lina Wertmüller's first success as a filmmaker. The magnificent and beautiful Ennio Morricone scores the scenes.


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