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A film composed by Ennio Morricone - 014eng
NA7217 La proprietà non è più un furto / Property Is No Longer a Theft
Chronology No.
The music page in the site
Chinese IMDB
Property Is No Longer a Theft
La proprietà non è più un furto / Property Is No Longer a Theft
It is shown that the film was composed by Ennio Morricone (00:01:35)
001-Basic info (IMDB)
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 ...
Gigi Proietti ...
Paco (as Luigi Proietti)
Salvo Randone ...
Total's Father

See full cast >>>>

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)

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)
A part of 4( 01:50:52-01:55:07 56 site
2-IMDB 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)

A part of 1(00:19:35-00:21:22 56 site
A part of 2(01:29:49-01:3:05 56 site
A part of 3(01:44:02-01:48:08 56 site
3- 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)
OO2-The Stills
003-About director Elio Petri
Elio Petri (29 January 1929 – 10 November 1982) was an Italian political filmmaker.

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)

Films directed by Elio Petri ( WIKI)
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) ·
Writer (31 credits)
Director (17 credits)

1979 Buone notizie (story and screenplay)

1978 Le mani sporche (TV Series) (translation and adaptation - 3 episodes)

- 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)

1979 Buone notizie

1978 Le mani sporche (TV Series) (3 episodes)

- 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)


004- About actor Ugo Tognazzi
乌戈·托格内吉(又译为雨果 唐格纳吉) Ugo Tognazzi
乌戈·托格内吉(又译为雨果 唐格纳吉) Ugo Tognazzi
Ugo Tognazzi
Ugo Tognazzi ; 23 March 1922 - 27 October 1990) was an Italian film, TV, and theatre actor, director, and screenwriter.

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.

Filmography Actor (Here)
]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)

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)
005-About (Erich Fromm)
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.

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.......

Erich Fromm postulated eight basic needs:

Relationships with others, care, respect, knowledge.
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 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.
A sense of oneness between one person and the "natural and human world outside."
The need to feel accomplished..........

La Proprieta Non E' Piu un Furto
Ritratto de Anita
L'Ultimo Ascensore
Io Sono...'Avere', Tu Sei...'Avere'
Al Ladro
Io Ho, Tu Hai
Sui Tetti
Mostra Antifurto
Se Po' Di'...Radica
Immobile Come Una Bistecca
Albertone E Total
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