the good soup
by Douglas Messerli
Agenore Incrocci and Furio Scarpelli [Age and
Scarpelli] (screenplay, based on their story), Mario Monicelli (director) I
solti ignoti (Big Deal on Madonna Street) / 1958
As critic Darragh O’Donoghue, writing in
Senses of Cinema, correctly observes, Mario Monicelli’s 1958 hit film I
soliti ignoti (Big Deal on Madonna Street)—in its genre of being a “spoof”—
exists “in a parasitic relationship to the form or medium it parodies.”
After the early frames of such films, in which the “situation” is
established, plot is dispensed with, as the movie hunkers down on the details
of how the thieves will accomplish the task before they actually move in to
achieve what they have planned.
Already in the early scenes, we recognize that something about the
figures who will later pretend to play the fine-tooled artisans able to
successfully steal the jewels, is amiss. Trying, quite successfully to steal a
car, the long-time crook Cosimo (Memmo Carotenuto) is run down by two Roman
mounted police and imprisoned for a few months.
Yet
his accomplices cannot wait, having been told by another inmate that, as a
bricklayer, he had intentionally created a paste-board wall between a vacant
apartment and a successful pawn shop room wherein sits its safe.
The
warden, however, not only does not believe his confession but throws him into
lockup as well. Complaining to Cosimo that he has now been sentenced to three
years, Peppe’s sad news is awarded by Cosimo revealing the entire story of the
intended heist.
Upon getting most of the details, Peppe reveals that, in fact, he has
been given a year’s probation, strolling out of the prison walls with the
intention of gathering the small gang of second-rate thieves to accomplish what
appears to be a “sure thing.”
They quickly discover, however, that the apartment is not vacant but is
rented to two elderly sisters who have hired a female maid, Nicoletta (Carla
Gravina), with whom ladies’ man Peppe quickly falls in love, but not before she
tells him that the sisters travel to the country on weekends, he arranging a
sexual rendezvous with her the next Sunday.
So
his small gang, originally organized by Cosimo, consisting of the young petty
thief Mario (Renato Salvaton); a Sicilian crook who needs the money for his
sister Carmelina’s (Claudia Cardinale) dowry, whom he intends to marry off to a
pious fool, until Mario and she furtively fall in love; a poverty-stricken
photographer, Tiberio (Marcello Mastroianni) who has had to sell his camera in
order to pay for the baby supplies and food for the son he is caring for while
his wife waits out a short sentence in jail; and an elderly pickpocket,
Pisacane, who prefers throughout to eat rather than actively participate in
their preparations. An elderly safecracker, Dane (Totò), is paid up-front by
the group for explaining to them the basics about how to break into a safe; he
refuses to participate in the final caper.
While Peppe assures them that the break-in will be an easy one, even the
usually severely abridged Google entry turns their short trek into a near-epic
voyage: “to get into the apartment they must cut a lock on a coal chute, slide
into the basement, sneak into a small courtyard, climb onto the roof of a first
floor apartment, break into the vacant apartment through a window, then punch
through the wall between it and the pawn shop”—all before applying their
unfamiliar tools to the nearly impregnable safe.
Meanwhile Cosimo has been released from jail, and in revenge of his
former partners, plans his own a course of far more direct action, first
attempting to rob a woman who has just left the pawnshop, and then, directly
trying to intimidate the pawnshop teller by laying the gun before him warning
of his intent plays out a scene that reminds one of the later Woody Allen
schtick in his film Take the Money and Run, in which Allen as the
would-be robber writes out a note saying “Please put $50,000 into this bag and
abt natural, because I am pointing a gub at you.”; in this case, when Cosimo
asks the teller “Do you know what this is?” the employee simply picks up the gun
and glibly announces its name and make, almost ready to name him a price for
putting it into hock.
At
approximately the same time his former gang members slide down the coal shoot
only to discover no soft coal dust but filthy water at its end. As you might
expect, everything that can go wrong does.
Although Peppe has been given the keys to the apartment, but out of love
delivers them instead, as he promised Nicoletta, to the janitor, putting
himself and his crew through the grueling tasks of crawling up ladders,
breaking through doors, moving heavy furniture, and drilling into the walls,
the first of which leads into a waterpipe.
Pisacane, as usual, discovers tracks down a late meal, a large pot of
pasta and chickpea soup which he describes to the others, still at work in
their attempts to break down the supposedly paste-board structure, a delicious.
Only after a longer period of hard efforts, do they discover that the wall they
are slowly breaking through leads into the kitchen where their colleague is
enjoying his soup. The sisters have evidently recently redecorated their
apartment, moving the furniture.
Frustrated with their failures, and all wishing to return to the women
and families they have left behind, they sit down with Piscane to enjoy the
good soup before fleeing.
The
next morning a bemused television reporter reveals the news that several
unknown persons had broken into an apartment during the night to steal a pot of
soup.
Given the long sentences these inept robbers would surely have suffered
had they actually broken into the safe and absconded with its contents—we might
even imagine that it could have been empty—we feel that the ending of this
hilarious work is most certainly a happy one. Unlike Melville’s films, here
there are no jewels to dispose of, no comrades to later dispose of. Cosimo’s
tattered gang is saved by its own ineptitude.
Los Angeles, July 14, 2020
Reprinted from World Cinema Review (July 2020).
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