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Big deal on Madonna Street (1958 Italy 111 min), Prod: Franco Cristaldi Dir: Mario Monicelli Scr: Age & Scarpelli, Suso Cecchi d’Amico & Mario Monicelli Phot: Gianni Di Venanzo Ed: Adriana Novelli Mus: Piero Umiliani Art Dir: Piero Gherardi. Coming Soon. Verified reviews are considered more trustworthy by fellow moviegoers. It is no accident that the thieves are trying to rob a pawn shop, the very emblem of their material deprivation. Which of course was a particular trait of Italian cinema, to shoot on location. A sequel directed by Nanni Loy titled Audace colpo dei soliti ignoti (released in English as Hold-up à la Milanaise) followed in 1960, reuniting the entire cast aside from Totò and Mastroianni. This is not a just description of the effects achieved by Big Deal, which are better served by the film’s original title I soliti ignoti, the euphemistic ‘persons unknown’. Claudia Cardinale featured in a minor role (a chaste, black-clad Sicilian girl, almost held prisoner at home by her overbearing brother, played by Murgia); she would later rise to fame for other work. Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. Part of HuffPost Entertainment. Very entertaining, and very funny at times. All this made it difficult. The careers of both Gassman and Mastroianni were considerably helped by the success of the film, Gassman in particular, since before then he was not deemed suitable for comedic roles. Especially in those days, although that tendency remains even in contemporary Italian cinema...There were not that many cars and little traffic. |, October 31, 2002 They won't be able to see your review if you only submit your rating. We want to hear what you have to say but need to verify your account. [2] The five hapless would-be burglars are played by Vittorio Gassman, Renato Salvatori, Carlo Pisacane, Tiberio Murgia and Marcello Mastroianni. Sign up here. The name of the Roman street in the English title is a slight mistranslation, as the Italian name of the fictional Roman street on which the midnight burglary in the film takes place is the Via delle Madonne (The Street of the Madonnas) rather than “Madonna Street.” Compounding the confusion is the fact that the real Roman street on which the scene was filmed is the Via delle tre cannelle (The Street of the Three Spouts) rather than the Via delle tre Madonne (The Street of the Three Madonnas). This 10-digit number is your confirmation number. Caught red-handed for a crime he swears he didn’t commit, the hopeful criminal mastermind and–for now–small-time thief, Cosimo, entrusts the square-jawed boxer, Peppe, with the plan for a seemingly fail-proof pawnshop heist on the quiet Madonna Street. With the help of some fellow criminals, he plans to dig a tunnel from a rented apartment to the pawnshop next door, where they can rob the safe. For instance, Claudia Cardinale is Carmelina, the fetching potential bride who's kept locked up by another one of the crooks, her overly protective brother, Michele (Tiberio Murgia). The producers were initially skeptical about the film's success, and to boost audience interest highlighted the appearance of the famous comedian Totò in the original poster even though his character chooses to remain a consultant to the heist gang rather than joining it outright. Italian Comeback: Two Dandy Films Give Promise of Renascence.New York Times. [5], The film was a hit in Italy when it was released and won two Italian Nastro d'Argento awards: Best Leading Actor (Gassman) and Best Screenplay. But this way of shooting films was quite common in Italy, to use actors taken from the street. It’s just too bad those incongruous, flat subtitles have to get in the way.” [9] Chicago Tribune critic James Rich liked the film but felt “the humor tarnished only when the parade of subtitles makes viewing a sort of exercise in speed reading.” [10] Philip K. Scheuer, in the Los Angeles Times, called it “cleverly directed and acted...but there is one disadvantage for the linguistically limited: they have to wait to read the joke at the bottom of the screen, and by the time they can appreciate its purport the actors have already gone on to the next one.”[11], Other critics simply praised the film. They chose subtitles. Chicago Daily Tribune; Sep 8, 1961; pg. Copyright © Fandango. Just below that it reads "Ticket Confirmation#:" followed by a 10-digit number. But Di Venanzo understood the tone. Beckley, Paul V. New York Herald Tribune. It's a heist movie about a bunch of small-time crooks and hoodlums who plan a caper where they will rob a pawn shop. Monicelli served his apprenticeship writing for the likes of de Sica,4 Giuseppe de Santis and Pietro Germi – including several ‘serious’ (i.e. The way they worked was quite the contrary actually. ©2020 Verizon Media. Visit your state election office website to find out whether they offer early voting. Starring: Vittorio Gassman, Renato Salvatori, Memmo Carotenuto, Rossana Rory, Carla Gravina, Claudia Cardinale, Elvira Tonelli, Marcello Mastroianni, Totò, Aldo Trifiletti No one with a sense of humor and an appreciation of humanity should miss it.” [12] The Washington Post thought, “Most unusual, however, and ever so clever, are the ways the script progresses to its climactic goof-up.”[13] The Baltimore Sun wrote, “Director Mario Monicelli has endowed the film with such flashes of brilliance, and the cast...has enacted it with such tasteful understatement, that ‘The Big Deal on Madonna Street’ must be listed as one of the funniest comedies of the last ten years.”[14], Crowther, in a follow-up essay, wrote, “Although the routines have whiskers, so old and used in vaudeville are they, the picture has an ageless zest for laughter.”[15], According to the review aggregator website Rotten Tomatoes, 89% of critics have given the film a positive review based on 9 reviews, with an average rating of 7.47/10.[16]. The spoof as a genre has a parasitic relationship to the form or medium it parodies. "[4], Asked if it was also a parody of Jules Dassin's film Rififi, Monicelli said, "Yes because we saw this as a film shot in a very harsh, realist style. Monicelli explained, "First of all because in Italy we often shoot with actors who are not professional.

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