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A
film composed by Ennio Morricone - 014eng
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NA7217
La
proprietà non è più un furto /
Property
Is No Longer a Theft
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Chronology
No.
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The
music page in the site
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IMDB
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Chinese
IMDB
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It
is shown that the film was composed by Ennio Morricone
(00:01:35)
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Director:
Elio Petri
Writers: Elio Petri (story), Ugo Pirro (story)
Stars: Ugo Tognazzi, Flavio Bucci, Daria Nicolodi |
Cast
(in credits order)
Ugo Tognazzi
... The Butcher
Flavio Bucci ... Total
Daria Nicolodi ... Anita
Mario Scaccia ... Alessandro Marzo 'Albertone'
Orazio Orlando ... Brigadier Pirelli
Julien Guiomar ... Bank Director
Cecilia Polizzi ... Mafalda
Jacques Herlin ... Bank Employee
Ada Pometti ... Maid
Pierluigi D'Orazio
Luigi Antonio Guerra ...
Protester (as Luigi Guerra)
Gino Milli ...
Zaganè
Gigi Proietti ...
Paco (as Luigi Proietti)
Salvo Randone ...
Total's Father
See
full cast >>>>
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| Genres:
Comedy | Drama |
Country:
Italy | France
Language: Italian
Release Date: 3 October 1973 (Italy) |
| Production
Co: Quasars Film Company, Labrador Films |
Runtime:
120 min
Sound Mix: Mono
Color: Color (Eastmancolor)
Aspect Ratio: 1.85 : 1 |
| Music
by Ennio Morricone |
| Also
Known As (AKA)
La proprietà
non è più un furto Italy (original title)
I idioktisia den einai pia klopi Greece (reissue title)
La propriété, c'est plus le vol France
Property Is
No Longer a Theft International (English title)
Ston anemostrovilo tis diafthoras Greece (transliterated ISO-LATIN-1
title)
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Storyline
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| 1-IMDB
comment-1 Comment:
If you want to know what marxism-madrakism is, don't miss this movie!
A great example of smart and politicized Italian cinema of the seventies,
a real cult in my opinion. The main character is a sort of modern
times psychopathic robin-hood whom works as a clerk in a bank, but
is allergic to money! At a certain point he is so exasperated that
he decides that he must mine rich people's private property in order
to give a shock to their lives. His main target is a rich butcher
(Ugo Tognazzi), but he decides not to steal his money, but things
that he needs more: his butcher knife, tool of his trade, his hat,
his woman... In the meantime, he enters the dark world of delinquency
meeting a professional thief which he manages to blackmail so that
he can help him in his misdoings. Between the world of marxist idealism
and pure delinquency, the whole story is fantastic and unreal, with
references to Fromm's (see 005 in bottom of this page) "Life
between having and being". The character would like to "have"
(money and things) but in the same moment he also wants to "be"
(save his personality), but he undesrtands that it's impossible ("This
is the problem!", he repeats) . The final is also fantastic,
with the thief's funeral in which a great Gigi Proietti gives us a
monologue on the importance of thiefs in society. A must for lovers
of the genre (Here) |
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comment-2
Petri's surrealism ---- 17 February 2013 | by m-sendey (Poland)
A young bank
worker Total (Flavio Bucci) witnesses a robbery, in which one of
the thieves gets caught and beaten by an avaricious, rich butcher
(Ugo Tognazzi). He can't come to terms with the fact that in spite
of being always a righteous man, he has never managed to gather
as much money as all other people including the above-mentioned
man. He vows to prosecute him and drive him insane by stealing everything
that belongs to him, along with his lover Anita (Daria Nicolodi).
In this third
part of "the neurosis' trilogy", Petri tackles inequality
in society, the issue of property and last but not least money itself.
None of Petri's movies is straightforward and this one is no exception.
While among Petri's works are more and less demanding ones, this
one must be together with A Quiet Place In The Country (1968) and
Todo Modo (1976) his weirdest creation. Therefore, there is nothing
strange about the fact that the film wasn't acclaimed in its premiere.
It's a bold, remarkably modern satire which is bound to leave you
confused and make you think about it long after it's over. Apart
from his usual collaboration with A-grade cinematographer Luigi
Kuveiller (Argento's Deep Red, 1975), the director utilizes a really
grotesque plot and a perfect illustration of this is our protagonist
who is allergic to… money. In addition to this, there is a frequent
use of stagey scenes, therefore the ensemble looks everything but
ordinary. A soundtrack is composed by Ennio Morricone. It is very
"avant-garde" and owing to some creepy whispers included
(Io ho – I have, tu hai - you have, egli ha – he has, essi hanno
– they have) already comments the events that are occurring on the
screen.
The cast isn't
too bad, unfortunately Flavio Bucci, who is surely a good actor,
appears to be a bit inexperienced in comparison to Volonte for example,
thus the film lacks a strong leading actor. Daria Nicolodi and Ugo
Tognazzi give strong performances. One can spot Salvo Randone as
well, who as always plays his role very well.
With this flick,
Petri shows that human takes part in the rat race in order to become
more powerful, socially accepted and approved, irrespective of all
hidden necessary, immoral ways. The character of the butcher represents
the rich and Petri points out that all those people who want to
dominate, are unscrupulous and pitiless, as the poor who often are
honest ones will never achieve better life conditions, since either
they are limited by religious as well as state laws or on breaching
overtly all those moral boundaries they are banished from the society.
The only way to render their life acceptable is to obey the rules
and submit to opulent people, who are protected on account of their
wealth and power. Another interesting aspect of the movie is comparing
a bank, which is heart of consumerism, to the church. To make this
allusion even more visible, the bank is full of images depicting
the Holy Trinity. Also, just like in the "Holy Church",
in the rat race, which is called here a "religion of property",
there is a certain hierarchy and blasphemies (when the clerk Total
sets a banknote on fire, the director is disgusted and almost throws
a tantrum).
However, it's
more fascinating to analyze it than to behold it, as the plot seems
to flow quite slowly, there isn't enough black humor to keep the
climax amusing. The script with its full resonance overwhelms the
viewer to the extension that one feels a bit tired and the twisted
Marxism - Madrakism message appears to be slightly too radical.
Nonetheless it does have plenty of splendid ideas, electrifying
score of Morricone, erotically-tinged atmosphere, strong direction,
and hence this is a good piece of political cinema. Although it
isn't as marvelous as his previous films, it certainly encapsulates
the political situation of those times in Italy perfectly. (Here)
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Italian Director Elio Petri, best known for his film Investigation
Of A Citizen Above Suspicion, here tells a complicated tale about
a bank clerk who is literally allergic to money. Not only that, the
clerk (Flavio Bucci) doesn't like the effect money has on people.
For some reason, he steals things from a dishonest butcher (Ugo Tognazzi).
This gives the butcher a convenient opportunity to file huge insurance
claims for the thefts.（Here) |
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003-About
director Elio Petri
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| Elio
Petri (29 January 1929 – 10 November 1982) was an Italian
political filmmaker.
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| Early
life[edit]Elio Petri was born in Rome on 29 January 1929
into a modest family, his father being a coppersmith. As
the only son, he grew up in the working-class area of the
city before attending school, where he was noted for his
intelligence.
After
being expelled for political reasons from San Giuseppe
di Merode, a school run by a priest on the Piazza di Spagna,
he embarked on a career combining political militancy,
film-journalism and the coordination of cultural activities
for the youth organization of the Italian Communist Party.
He wrote for L'Unità and for Gioventù nuova as well as
for Città aperta. He left the party in 1956 after the
Hungarian uprising.
A
friend of Gianni Puccini, he was introduced through him
to Giuseppe De Santis and became assistant to the director
of Bitter Rice. He collaborated, without being credited,
on Rome 11 O'Clock (1952), one of the least known post-war
neo-realist movies, based on an actual tragic event; a
staircase collapse with dozens of women job seekers who
had showed up in response to an advertisement by a doctor
seeking a secretary.
Early
films[edit]Mr. Petri carried out the preliminary inquiry
among the real-life protagonists of the drama. The inquiry
was published in book form in 1956. There followed the
collaboration with De Santis, both as script-writer and
as director's assistant, on La Fille sans homme (1953),
Jour d'amour (1955), Homme et luops (1956), La strada
lungo un anno (1958) and La Garconniere (1960). During
the period, Petri also wrote scripts for Giuliano Puccini,
Aglauco Casadio and Carlo Lizzani. Nevertheless, it was
his collaboration with the film-director from Fondi which
was decisive when it came to learning the tools of the
film-directing trade as well as developing an autonomous
cultural and political outlook.(More see
WIKI)
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Films
directed by Elio Petri (
WIKI)
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| The
Assassin (1961) · I giorni contati (1962) · The Teacher
from Vigevano (1963) · High Infidelity (1964) · The 10th
Victim (1965) · We Still Kill the Old Way (1967) · A Quiet
Place in the Country (1968) · Investigation of a Citizen
Above Suspicion (1970) · The Working Class Goes to Heaven
(1971) · Property Is No Longer a Theft (1973) · Todo modo
(1976) · |
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Writer
(31 credits)
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Director
(17 credits)
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1979 Buone notizie (story and screenplay)
1978
Le mani sporche (TV Series) (translation and adaptation
- 3 episodes)
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Episode #1.3 (1978) ... (translation and adaptation)
- Episode #1.2 (1978) ... (translation and adaptation)
- Episode #1.1 (1978) ... (translation and adaptation)
1976 Todo modo (screenplay)
1973
La proprietà non è più un furto (story and screenplay)
1971
Lulu the Tool
1970
Documenti su Giuseppe Pinelli (Documentary short) (segment
"Tre ipotesi sulla morte di Giuseppe Pinelli",
uncredited)
1970
Indagine su un cittadino al di sopra di ogni sospetto
1968
Un tranquillo posto di campagna (screenplay and dialogue)
/ (story)
1967
We Still Kill the Old Way (screenplay)
1965
The 10th Victim (screenplay)
1964
High Infidelity (segment "Peccato nel pomeriggio")
1963
Il maestro di Vigevano (adaptation)
1963
I mostri (story and screenplay - as Petri)
1962
I giorni contati (screenplay) / (story)
1961
The Assassin (screenplay) / (story)
1960
La gar?onnière
1960
Il gobbo (story)
1960
Il carro armato dell'8 settembre (story)
1960
L'impiegato
1959
Vento del Sud (story)
1959
Le notti dei Teddy Boys (writer)
1959
Vlak bez voznog reda (writer)
1958
Cesta duga godinu dana (writer)
1958
Un ettaro di cielo (screenplay)
1957
Men and Wolves (screenplay) / (story)
1955
Quando tramonta il sole (screenplay) / (story)
1954
Giorni d'amore (story and screenplay)
1954
Angels of Darkness
1954
Nasce un campione (Documentary short) (written by)
1953
A Husband for Anna (screenplay)
1952
Rome 11:00 (report - uncredited)
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1979 Buone notizie
1978
Le mani sporche (TV Series) (3 episodes)
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Episode #1.3 (1978)
- Episode #1.2 (1978)
- Episode #1.1 (1978)
1976 Todo modo
1973
La proprietà non è più un furto
1971
Lulu the Tool
1970
Documenti su Giuseppe Pinelli (Documentary short) (segment
"Tre ipotesi sulla morte di Giuseppe Pinelli")
1970
Indagine su un cittadino al di sopra di ogni sospetto
1968
Un tranquillo posto di campagna
1967
We Still Kill the Old Way
1965
The 10th Victim
1964
High Infidelity (episode "Peccato nel pomeriggio")
1964
Nudi per vivere (Documentary) (as Elio Montesti)
1963
Il maestro di Vigevano
1962
I giorni contati
1961
The Assassin
1957
I sette contadini (Documentary short)
1954
Nasce un campione (Documentary short)
(IMDB)
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004-
About actor Ugo
Tognazzi
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| Ugo
Tognazzi ;
23 March 1922 - 27 October 1990) was an Italian film, TV, and theatre
actor, director, and screenwriter.
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| Early
life Tognazzi
was born in Cremona, in northern Italy but spent his youth in various
localities as his father was a traveller clerk for an insurance
company.
After his
return to his native city in 1936, he worked in a salami production
plant. During World War II, he was inducted into the Army and
returned home after the Armistice of September 1943. His passion
for theater and acting dates from his early years, and also during
the conflict he organized shows for his fellow soldiers. In 1945,
he moved to Milan, where he was enrolled in the theatrical company
led by Wanda Osiris. A few years later, he formed his own successful
musical revue company.
Career
In 1950, Tognazzi made his cinematic debut in I cadetti di Guascogna
directed by Mario Mattoli. The following year, he met Raimondo
Vianello, with whom he formed a successful comedy duo for the
new-born RAI TV (1954–1960). Their shows, sometimes containing
satirical material, were among the first to be censored on Italian
television.
After the
successful role in The Fascist (Il Federale) (1961), directed
by Luciano Salce, Tognazzi became one of the most renowned characters
of the so-called Commedia all'Italiana (Italian comedy style).
He worked with all the main directors of Italian cinema, including
Mario Monicelli (Amici miei), Marco Ferreri (La grande abbuffata),
Carlo Lizzani (La vita agra), Dino Risi, Pier Paolo Pasolini (Pigsty),
Ettore Scola, Alberto Lattuada, Nanni Loy, Pupi Avati and others.
Tognazzi also directed some of his films, including the 1967 film
Il fischio al naso. The film was entered into the 17th Berlin
International Film Festival.[1]
He was a well-known
actor in Italy, and starred in several important international
films, which brought him fame in other parts of the world.
Roger Vadim
cast Tognazzi as Mark Hand, the Catchman, in Barbarella (1968).
He rescues Barbarella (Jane Fonda) from the biting dolls she encounters,
and after her rescue, he requests payment by asking her to make
love with him (the "old-fashioned" way, not the psycho-cardiopathic
way of their future).
In 1981, he
won the Best Male Actor Award at the Cannes Film Festival for
La tragedia di un uomo ridicolo, directed by Bernardo Bertolucci.
While he worked primarily in Italian cinema, Tognazzi is perhaps
best remembered for his role as Renato Baldi, the gay owner of
a St. Tropez nightclub, in the 1978 French comedy La Cage aux
Folles which became the highest grossing foreign film ever released
in the U.S.
Personal
life Ugo
Tognazzi died of a brain hemorrhage in Rome in 1990, although
rumors persist to this day that his chronic depression led to
suicide. He is buried in the cemetery of Velletri.
His sons Ricky
Tognazzi (b. 1955) and Gianmarco Tognazzi (b. 1967) are cinema
actors. He was also the father of the Norwegian film director
and film producer Thomas Robsahm (b. 1964). His daughter Maria
Sole Tognazzi (b. 1971) is, like Ricky, a film director.
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]I
cadetti di Guascogna (1950)
Auguri e figli maschi (1951)
Una bruna indiavolata (1951)
La paura fa 90 (1951)
L'incantevole nemica (1953)
L'amore in città (1953)
Totò nella luna (1958)
Domenica è sempre domenica (1958)
Mia nonna poliziotto (1958)
Marinai, donne e guai (1958)
Psicanalista per signora (1959)
Le cameriere (1959)
Tipi da spiaggia (1959)
La cambiale (1959)
I baccanali di Tiberio (1959)
Assi alla ribalta (1959)
Guardatele ma non toccatele (1959)
Policarpo, "ufficiale di scrittura" (1959)
La pica sul Pacifico (1959)
Non perdiamo la testa (1959)
Noi siamo due evasi (1959)
Fantasmi e ladri (1959)
Femmine di lusso (1960)
A noi piace freddo (1960)
Un dollaro di fifa (1960)
Genitori in blue jeans (1960)
Le olimpiadi dei mariti (1960)
Il mio amico Jekyll (1960)
The Fascist (1961)
Che gioia vivere! (1961)
Il mantenuto (1961)
I magnifici tre (1961)
Sua Eccellenza si fermò a mangiare (1961)
Cinque marines per cento ragazze (1961)
Pugni pupe e marinai (1961)
I tromboni di fra' Diavolo (1962)
Una domenica d'estate (1962)
Il giorno più corto (1962)
La voglia matta (1962)
I motorizzati (1962)
March on Rome (1962)
Liolà (1963)
RoGoPaG (1963)
I mostri (1963)
I fuorilegge del matrimonio (1963)
Le ore dell'amore (1963)
Le motorizzate (1963)
The Conjugal Bed (1963)
La vita agra (1964)
Alta infedeltà (1964)
Controsesso (1964)
La Donna scimmia (1964)
Il magnifico cornuto (1964)
Io la conoscevo bene (1965)
Menage all'italiana (1965)
I Complessi (1965)
Una moglie americana (1965)
Oggi, domani, dopodomani (1965)
Le piacevoli notti (1966)
L'immorale (1966)
A Question of Honour (1966)
Follie d'estate (1966)
I nostri mariti (1966)
Marcia nuziale (1966)
Il fischio al naso (1967)
Il padre di famiglia (1967)
Barbarella (1967)
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Straziami,
ma di baci saziami (1968)
Sissignore (1968)
Satyricon (1969)
Il Commissario Pepe (1969)
Nell'anno del Signore... (1969)
Porcile (1969)
La bambolona (1969)
Splendori e miserie di Madame Royale (1970)
Cuori solitari (1970)
La califfa (1970)
Venga a prendere il caffè... da noi (1970)
In nome del popolo italiano (1971)
La supertestimone (1971)
Stanza 17-17, palazzo delle tasse, ufficio imposte (1971)
L'udienza (1971)
Questa specie d'amore (1972)
Il generale dorme in piedi (1972)
Il maestro e Margherita (1972)
Vogliamo i colonnelli (1973)
La proprietà non è più un furto (1973)
La grande abbuffata (1973)
La mazurka del barone, della santa e del fico fiorone (1974)
Romanzo popolare (1974)
Permettete signora che ami vostra figlia? (1974)
Non toccare la donna bianca (1974)
Touche pas à la femme blanche (Don't Touch The White Woman!) (1974)
L'anatra all'arancia (1975)
La smagliatura (1975)
Amici miei (1975)
Cattivi pensieri (1976)
Telefoni bianchi (film) (1976)
Signore e signori, buonanotte (1976)
Al piacere di rivederla (1976)
La stanza del vescovo (film) (1977)
I nuovi mostri (1977)
Il gatto (1977)
Casotto (1977)
Nenè (1977)
Dove vai in vacanza? (1978)
La mazzetta (1978)
La Cage aux Folles (1978)
Primo amore (1978)
L'ingorgo - Una storia impossibile (1979)
I viaggiatori della sera (1979)
Break-up (film) (1979)
La Cage aux Folles(1980)
La terrazza (1980)
Sono fotogenico (1980)
Sunday Lovers (1980)
Arrivano i bersaglieri (1980)
La tragedia di un uomo ridicolo (1981)
Amici miei atto II (1982)
Scusa se è poco (1982)
Scherzo del destino in agguato dietro l'angolo come un brigante
da strada (1983)
Il petòmane (1983)
The Key (1983)
Fatto su misura (1984)
Bertoldo, Bertoldino e Cacasenno (1984)
Dagobert (film) (1984)
Amici miei atto III (1985)
La Cage aux folles 3 - 'Elles' se marient (1985)
Ultimo minuto (1987)
I giorni del commissario Ambrosio (1988)
Tolérance (1989) |
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005-About
(Erich Fromm)
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| Erich
Seligmann Fromm
(March 23, 1900 – March 18, 1980) was a German social psychologist,
psychoanalyst, sociologist, humanistic philosopher, and
democratic socialist. He was associated with what became
known as the Frankfurt School of critical theory.[1]
Life
Erich Fromm was born on March 23, 1900, at Frankfurt am
Main, the only child of Orthodox Jewish parents. He started
his academic studies in 1918 at the University of Frankfurt
am Main with two semesters of jurisprudence. During the
summer semester of 1919, Fromm studied at the University
of Heidelberg, where he began studying sociology under
Alfred Weber (brother of the better known sociologist
Max Weber), the psychiatrist-philosopher Karl Jaspers,
and Heinrich Rickert. Fromm received his PhD in sociology
from Heidelberg in 1922. During the mid-1920s, he trained
to become a psychoanalyst through Frieda Reichmann's psychoanalytic
sanatorium in Heidelberg. He began his own clinical practice
in 1927. In 1930 he joined the Frankfurt Institute for
Social Research and completed his psychoanalytical training.
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After
the Nazi takeover of power in Germany, Fromm moved first
to Geneva and then, in 1934, to Columbia University in
New York. Together with Karen Horney and Harry Stack Sullivan,
Fromm belongs to a Neo-Freudian school of psychoanalytical
thought. Horney and Fromm each had a marked influence
on the other's thought, with Horney illuminating some
aspects of psychoanalysis for Fromm and the latter elucidating
sociology for Horney. Their relationship ended in the
late 1930s.[2] After leaving Columbia, Fromm helped form
the New York branch of the Washington School of Psychiatry
in 1943, and in 1946 co-founded the William Alanson White
Institute of Psychiatry, Psychoanalysis, and Psychology.
He was on the faculty of Bennington College from 1941
to 1949.......
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| Erich
Fromm postulated eight basic needs:
Relatedness
Relationships with others, care, respect, knowledge.
Transcendence
Being thrown into the world without their consent, humans
have to transcend their nature by destroying or creating
people or things.[5] Humans can destroy through malignant
aggression, or killing for reasons other than survival,
but they can also create and care about their creations.
Rootedness
Rootedness is the need to establish roots and to feel
at home again in the world.[5] Productively, rootedness
enables us to grow beyond the security of our mother and
establish ties with the outside world. With the nonproductive
strategy, we become fixated and afraid to move beyond
the security and safety of our mother or a mother substitute.
Sense of Identity
The drive for a sense of identity is expressed nonproductively
as conformity to a group and productively as individuality.
Frame of orientation
Understanding the world and our place in it.
Excitation and Stimulation
Actively striving for a goal rather than simply responding.
Unity
A sense of oneness between one person and the "natural
and human world outside."
Effectiveness
The need to feel accomplished..........
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006-OST
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No.
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Name
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Audition
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001
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La
Proprieta Non E' Piu un Furto
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002
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Colpo
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003
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Ritratto de Anita
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004
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L'Ultimo Ascensore
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005
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Io Sono...'Avere', Tu Sei...'Avere'
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006
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Al Ladro
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007
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Io Ho, Tu Hai
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008
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Rapina
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009
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Sui Tetti
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010
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Mostra Antifurto
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011
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Se Po' Di'...Radica
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012
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Immobile Come Una Bistecca
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013
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Albertone E Total
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007-Film
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Whole
film file 700 Kbps WMV format embeded CN and EN subtitle 684M
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Please
to complete the download before July 31,2014 , thank you for co-operation.
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July
2, 2014
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