Peccato che sia una canaglia
by Alessandro Blasetti


Italy  (Rome,) - December 28, 1954 - Peccato che sia una canaglia - 95'
France (Paris) - June 22, 1955 - Dommage que tu sois une canaille -
West Germany - December 20, 1955 - Schade, daß du eine Kanaille bist! - 97'
Spain (San Sebastian) - September 1955 - La ladrona, su padre y el taxista - 96' (attendance: 509,988)
USA (New York City, Bijou Theater) - December 24, 1955 - Too Bad She's Bad -
Belgium - 1955 - Dommage que tu sois une canaille / Spijtig dat je zulk een deugniet bent - 97'
Sweden - June 25, 1956 - Lockbetet -

Italian poster Belgian poster Spanish poster German poster


Paolo, a serious, willing young man, works for a taxi-driver cooperative, which has assigned him a beautiful new car. One day the car is hired by two young men, who ask to be taken to the beach, along with a lovely friend of theirs, Lina. The party goes bathing and Lina persuades Paolo to take a dip as well, but as he is about to go into the water, the anti-theft alarm warns him that his car is in danger. He tries in vain to capture the two thieves, then forces Lina to return to Rome with him, but once there she manages to escape from him. So Paolo has to reimburse the cooperative for the cost of a very long ride. After a few days Paolo meets Lina and the two accomplices: the latter manage to escape from him again, but Paolo stops the young woman. She tells him a bunch of lies to gain his pity, and since she mentions her family, Paolo decides to meet her father, Mr. Stroppiani. According to Lina, he is the perfect figure of an artist, while in reality he is a thorough swindler who specializes in stealing suitcases. Meanwhile Paolo falls hopelessly in love with Lina, and becomes engaged to her. But he discovers that a beautiful cigarette case, which she had offered him as a gift, was stolen by her from his boss. At that point, furious, he leaves her and breaks off all relations with the Stroppianis. The latter, in order to pay him back for the damages which Lina and her accomplices have caused him, attempt a robbery in a bus, but Paolo himself is able to foil the theft. Reported to the police, Lina and her father astutely manage to get acquitted. When Lina confesses that they had attempted the robbery to pay him back his losses, Paolo embraces her, still very much in love. (Enrico Lancia)
Story from the short story "Il fanatico" by Alberto Moravia


Rome (Italy)

Cinecittà Studios, Rome (Italy)

Filming dates: May - June 1954


Sophia Loren (Lina Stroppiani)
Vittorio De Sica (Mr. Stroppiani)
Marcello Mastroianni (Paolo)
Umberto Melnati (Michele)


Aldo Giordani
Alessandro Cicognini
Costume design:
Maria De Matteis
Makeup Artist:
Maria Angelini
Hair Stylist:
Goffredo Rocchetti
Documento Films (Rome)


Blasetti was the first to discover that for Sophia, just acting opposite De Sica brought the same results as being directed by him. Their Neapolitan souls merged, and while Mastroianni came from a bit farther north in the region, he had the same temperament and meshed perfectly with them.
Warren G. Harris, Sophia Loren: A Biography.

First true collaboration with Marcello Mastroianni gives birth to the best couple Italian cinema has ever presented. The Loren-Mastroianni tandem, from then on, will always be popular, especially in Europe. They have appeared in 10 films together, plus a cameo appearance by Mastroianni in Questi fantasmi and double billing in Tempi Nostri in which they don't share any scene.

Sophia's voice is dubbed by Maria Landrock (German).


"One striking point in its favour is the luxurious Sophia Loren, who is something to look at from any angle or any side. (…) she displays such a full and shapely figure she makes it a pleasure to consider being robbed. And don’t think the lady doesn’t know it. With her, ambulating is an art. Leaning over is an aesthetic manoeuvre. The Signorina racks up quite a score. (...) Forget the subtitles. Forget the story. Just watch the dame."
Bosley Crowther, New York Times, 26 dec 1955

"Sophia plays the wayward daughter of an elderly thief of gallant charm (De Sica) and she seems to have acquired something of this actor’s assurance and attack."
Gordon Reid, Continental Film Review.


"Turning to the acting in the film raises some fundamental problems concerning the craft of dubbing. Sophia Loren’s brand of jolly, uninhibited sex-appeal is not enhanced by the substitution of a precise English voice of considerable gentility."
Monthly Film Bulletin.

"To Vesuvius and Etna, Italy might well add another volcano - Sophia Loren. When this siren erupts, it's every man for himself!"
Daily Mirror

"As soon as we met on the set, there was a spark between us... The three of us were united in a kind of complicity that the Neapolitans always have among themselves. The same sense of humor, the same rhythms, the same philosophies of life, the same natural cynicism. All three of us did our roles instinctively."
Sophia Loren.


"We practically had to fight with the producers in order to impose Sophia Loren in the leading role which was meant for Gina Lollobrigida. A few months earlier, Michelangelo Antonioni had suffered the same pressures for his film La dama senza camelia. He wanted Sophia Loren. The producers were asking for Gina Lollobrigida. In the end, Lucia Bosè got the part."
Suso Cecchi d'Amico, screenwriter.

"It overflows with Loren's luscious loveliness."
New York Post

"One of the most spectacular figures in modern films!"
New York Wold Tele-Sun

"Sophia Loren, così, nelle vesti della ragazza, è riuscita ad esprimere non soltanto la bellezza, ma anche tutti i più caldi, sensibili e colorati accenti del suo personaggio.
Gian Luigi Rondi, Il Tempo, 20 feb 1954

"Too Bad She's 'Bad", an amusing Italian import, stars Sophia Loren who demonstrates what makes a girl a girl. She makes
breathing downright entertaining . . .

Walter Winchell, Logansport Pharos-Tribune, 1 jan 1956

Copyrights for all photos belong to their respective owners.
© Excelsior Communication - 2007

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