Il bidone
The Swindle (1955) is both a stand-alone movie and the centerpiece of Federico Fellini's unofficial "trilogy of loneliness," preceded by La strada (1954) and followed by Nights of Cabiria (1957). All three are key works marking the last great moments of Italian neorealism, which was waning as central figures like Roberto Rossellini and Vittorio De Sica moved on to different genres. In the 1950s, he still held the neorealist conviction that nothing is more dramatic than the lives of ordinary people transferred to the screen with a minimum of embellishment.,Augusto: We've gotta figure out something better. We can't go on like this.
Roberto: Who's saying we should? I'm not an idiot. This is just for fun, just to keep us going. I'm going to sing. When I save up some money, I'll take lessons. I've bought all the Johnnie Ray's records. He's really my style.
Augusto: You'll never take lessons.
Roberto: I'm not ending up like you!,The Prime Video master, circulating on subscription services such as FilmBox, has been censored to blur out shots of actors smoking.,Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999),The middle chapter in Fellini's "trilogy of loneliness", made by a master between "La Strada" (1954), and "Nights of Cabiria," (1957), "Il Bidone" (1955) is less known, for long time simply forgotten (and I can't imagine why) but powerful, humorous, heartbreaking, and poignant film. Broderick Crawford, Academy Award winner for playing Willie Stark, a corrupt politician and a charismatic man in "All the King's Men" (1949), gives a compelling performance as Augusto, an aging con man, a leader of a trio of small time crooks who take advantage of poor and uneducated Italians in both country side and poor quarters of Rome. Augusto realizes at the age of 48 that his life of selfishness, greed, and wrongdoings only made his existence meaningless. Once in his life, he decided to con the con men in order to help his daughter whom he rarely sees but deeply loves with fulfilling her dreams of better life but a swindle gone wrong leads Augusto to the final scene of pain, both physical and mental, to loneliness and desperation. It is very much like "Nights of Cabiria" final scene but without eternal hope of Cabiria's smile

Technically, "Il Bidone" is a very strong film with memorable performances, including the smaller cameos. Fellini's directing is as satisfying as always and many scenes remind of his future triumphs (New Year party is a stunning sequence and brings to mind "La Dolce Vita", 1960 ). Nino Rota's music and Otello Martinelli's cinematography add to many pleasures of the film, one of them is Giulietta Masina who plays supporting role of Iris, the wife of Picasso (Richard Basehart), the younger con artist with a dream to become an Artist. Both, Masina and Basehart starred in Fellini's first chapter of "trilogy of loneliness", "La Strada" (1954).,