La Proprietà non è più un furto

A sad comedy that robs the viewer of hope and in which no one is happy. When the principle of theft is privatized and stealing becomes a universal imperative, a den of thieves is created in broad daylight, enlightened by self-interest and the natural right to inalienable private ownership of public institutions - the police, law, and banks. When a thief pursues you in such a situation, you are pursuing yourself. After his political thriller and social drama, Petri attempts to awaken the viewer's conscience with a political comedy, and many moments or stylistic elements will remind them of his previous attempts, interconnected with this film's deeper left-wing critique of bourgeois society: reminiscences of Investigation of a Citizen Above Suspicion (1970) in the cool editing and precise camera work, with the sounds of Morricone's music in numerous night scenes, and with the main protagonist's father figure being almost functionally identical to the same character (played by the same actor, Petri’s favorite Salvo Randone) from The Working Class Goes to Heaven (1971). (20.07.2017)