Property Is No Longer a Theft

Property Is No Longer a Theft is an invigorating and unabashedly provocative Italian socio-political allegory released in 1973. Directed by Elio Petri, a filmmaker renowned for his strong social commentaries of the Italian society, critical of its political corruption, immoralities, and class warfare, this movie is no less remarkable. It features stellar performances by Ugo Tognazzi, Flavio Bucci, and Daria Nicolodi. The film falls under the categories of drama, crime and is an intriguing blend of satire, whimsy, and a vibrant examination of socio-economic philosophies.

The film's central character, Total, played by Flavio Bucci, is an eccentric, young, and low-ranking bank clerk with an uncanny fascination with the concept of property and possession. The plot is set into motion when Total falls ill, diagnosed with the oddity of being allergic to money, which subsequently leads to the loss of his job. This unexpected event propels him further into his obsession, and he plunges into a deep self-exploration over what money and property truly mean.

Fueled by his obsession and no longer shackled by his ordinary job, Total decides to embark on a path of protest and rebellion against the imbalanced and unjust world of property ownership and money. He chooses his target- an imperturbably affluent butcher, played by Ugo Tognazzi, who unfolds an evocative depiction of the bourgeoisie class and the paradoxical nature of abundant wealth.

Total's explorations and exploits are intensified with the introduction of Anita, interpreted by Daria Nicolodi, who is the beautiful mistress of Tognazzi's character. Anita, despite being part of Tognazzi's world of riches, is paradoxically ‘property-less’. This dynamic set-up immerses the audience into Total's philosophical journey through the warped realities of property, ownership, and wealth in society.

The film leaves no stone unturned and questions the core of capitalism with its subversive narrative. As Total stealthily invades the butcher’s life, he zealously challenges conventional notions of right and wrong as dictated by society. His quest to redistribute wealth disrupts the existing social order, forcing the audience into an introspective understanding of societal norms around ownership and money.

Directed with visual inventiveness and coupled with a clever screenplay, Property Is No Longer a Theft offers a wealth of symbolism with its quirky characters and their relationships. Petri has created a strangely unsettling world where one man's whimsical rebellion prompts profound questions about societal systems and human morality.

In a remarkable performance, Bucci perfectly captures Total's eccentricity, persistence, and nihilistic rebellion against societal conventions. Tognazzi, on the other hand, masterfully embodies the casually brutal, nonchalant aura of a wealthy capitalist who holds control and power. Nicolodi brings a complex layer to her role as she dwells in the lines between lover, possession, and independent individual, contributing to the overall philosophical breadth of the film.

The movie amply employs heavy symbolism, dark humor, and metaphors. The usage of a Solitaire game, a small harmless razor, or even the title itself, 'Property Is No Longer a Theft', whimsically yet purposefully signify the broader layers of wealth distribution, property ownership, and moral ambiguity.

On the technical front, Property Is No Longer a Theft is visually evocative. Luigui Kuveiller's remarkable cinematography captures crowded urban spaces and sterile high-class establishments alike, playing on contrasts to enhance the narrative's complexity. Ennio Morricone's score, a masterful amalgamation of jazzy tunes and vocal choruses, extends the experience of the satirical narrative.

Property Is No Longer a Theft engages audiences with a potent mix of enigmatic characters, dark humor, and poignant exposure of socio-economic disparities. The parliamentary depiction of an ordinary man's systematic plunder of a wealthy man's property is a visually vibrantly and metaphorically engaging subversive narrative that ponders deeply over pivotal matters like wealth, possession and morality in society.

Viewers seeking an insightful, witty, and oddball exploration of society's vices will find Property Is No Longer a Theft a richly layered and engaging destination. Petri's bold critique of capitalism, conveyed through peculiar characters and powerful symbolism, will indeed leave an indelible impact.