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Scene from La proprietà non è più un furto (1973)
Scene Details
| Duration: 316 sec. | Nudity: yes | Creator: Ruffah |
| New Filesize: N/A | Sound: yes | Old Filesize: 232 mb |
| File Format: AOMedia Video 1 (WebM/AV1) | Resolution: 1920x1040 | Added: 2018-Jun-08 |
Actresses in this Scene
Daria Nicolodi
Career
First Appearances:
Most Important Roles:
Career Highlights:
Full Biography
Daria Nicolodi (June 19, 1950 – November 26, 2020) was an Italian actress and screenwriter. She starred in the 1973 film 'La proprietà non è più un furto'. There is no additional information provided about her life or career.
About the Movie: La proprietà non è più un furto (1973)
Release Year: 1973
Nation: N/A
Alternative Title: El amargo deseo de la propiedad, La propriété, c'est plus le vol, I idioktisia den einai pia klopi, Ston anemostrovilo tis diafthoras, La propiedad ya no es un hurto, Wlasnosc nie pochodzi juz z kradziezy, Egendom är inte längre stöld, Property Is No Longer a Theft
Director: Elio Petri
Writer: Elio Petri, Ugo Pirro
Production & Genre
Producer(s): N/A
Companies: N/A
Genre: Comedy, Comedy Film, Drama
Awards & Similar
Awards:
Similar: N/A
Story
The film follows Luigi 'Totò' Cerasoli, a young bank cashier who becomes disillusioned with his monotonous life and limited prospects. He begins to fantasize about the wealthy lifestyles of his clients, leading him to decide that he deserves more out of life. Totò starts by committing small-scale supermarket robberies to fund his new, extravagant lifestyle, including expensive clothes, cars, and women. As his confidence grows, so do the size of his crimes, eventually leading him to attempt a major bank robbery.
Summary
Directed by Elio Petri in 1973, 'La proprietà non è più un furto' (translated as 'Property Is No Longer a Theft') is a blend of drama and comedy that explores themes of social inequality and the morality of theft. The film stars Giancarlo Giannini as Luigi 'Totò' Cerasoli, a young man discontent with his dreary life who embarks on a petty criminal spree to attain the lifestyle he believes he deserves. Petri uses Totò's story as a critique of Italian society during the economic boom of the 1960s and 1970s, questioning the values placed on material wealth.