The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”).
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome. watch full movie peccato veniale 1974 top
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria. Through Clara's story, the film raises important questions
The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”). The film's title, "Peccato Veniale," translates to "Venial
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome.
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria.
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Carolina Crescentini
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Massimiliano Bruno, Giulia Bevilacqua
Copyright: Sky
Massimiliano Bruno
Copyright: Sky
Giampaolo Morelli, Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Giampaolo Morelli, Marco Giallini
Through Clara's story, the film raises important questions about the nature of morality and the consequences of our actions. The movie suggests that the lines between right and wrong are often blurred, and that our choices can have far-reaching and devastating effects on ourselves and those around us.
In conclusion, "Peccato Veniale" (1974) is a gripping and emotionally charged drama that explores the complexities of human relationships and the search for meaning in a morally ambiguous world. With its thought-provoking themes, striking cinematography, and outstanding performances, this film is a must-see for anyone interested in Italian cinema and the works of Massimo Dallamano.
Released in 1974, "Peccato Veniale" is a thought-provoking Italian drama film that explores the complexities of human relationships, morality, and the blurred lines between right and wrong. Directed by Massimo Dallamano, the movie tells the story of a young woman named Clara, played by Barbara Magnolfi, who finds herself entangled in a web of emotional and psychological turmoil.
The film's title, "Peccato Veniale," translates to "Venial Sin" in English, which refers to a mild or minor sin in Catholic theology. This title aptly captures the essence of the movie, as it delves into the themes of guilt, redemption, and the search for meaning in a seemingly meaningless world.
The cinematography in "Peccato Veniale" is noteworthy, with a muted color palette that reflects the bleak and melancholic tone of the film. The direction by Massimo Dallamano is masterful, as he skillfully crafts a narrative that is both haunting and thought-provoking.
Clara, the protagonist, is a troubled young woman who finds herself in a series of complicated relationships. Her affair with a married man, Gianni, played by Gianni Di Lorenzo, sets off a chain of events that lead to a downward spiral of emotional chaos. As Clara navigates her relationships, she begins to question her own moral compass, leading to a series of introspective and often disturbing encounters.
Through Clara's story, the film raises important questions about the nature of morality and the consequences of our actions. The movie suggests that the lines between right and wrong are often blurred, and that our choices can have far-reaching and devastating effects on ourselves and those around us.
In conclusion, "Peccato Veniale" (1974) is a gripping and emotionally charged drama that explores the complexities of human relationships and the search for meaning in a morally ambiguous world. With its thought-provoking themes, striking cinematography, and outstanding performances, this film is a must-see for anyone interested in Italian cinema and the works of Massimo Dallamano.
Released in 1974, "Peccato Veniale" is a thought-provoking Italian drama film that explores the complexities of human relationships, morality, and the blurred lines between right and wrong. Directed by Massimo Dallamano, the movie tells the story of a young woman named Clara, played by Barbara Magnolfi, who finds herself entangled in a web of emotional and psychological turmoil.
The film's title, "Peccato Veniale," translates to "Venial Sin" in English, which refers to a mild or minor sin in Catholic theology. This title aptly captures the essence of the movie, as it delves into the themes of guilt, redemption, and the search for meaning in a seemingly meaningless world.
The cinematography in "Peccato Veniale" is noteworthy, with a muted color palette that reflects the bleak and melancholic tone of the film. The direction by Massimo Dallamano is masterful, as he skillfully crafts a narrative that is both haunting and thought-provoking.
Clara, the protagonist, is a troubled young woman who finds herself in a series of complicated relationships. Her affair with a married man, Gianni, played by Gianni Di Lorenzo, sets off a chain of events that lead to a downward spiral of emotional chaos. As Clara navigates her relationships, she begins to question her own moral compass, leading to a series of introspective and often disturbing encounters.
