47 Talking Corpses
47 Talking Corpses
| 22 December 1950 (USA)
47 Talking Corpses Trailers

Greedy Baron Antonio Peletti refuses to give to his town the heredity left by his father, a box full of precious jewels, which he keeps for himself. The major and the rest of the townspeople therefore organize a trick at his expense: they'll make him believe he is dead, and, in a fake "afterlife", they'll try to convince him to finally show them where the money is hidden to save his soul.

Reviews
Bereamic

Awesome Movie

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Helllins

It is both painfully honest and laugh-out-loud funny at the same time.

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Bluebell Alcock

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

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Kaydan Christian

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

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petra_ste

A bit Molière's L'Avare, a bit Plautus' Aulularia, this little comedy is notable because of the great comedic talent of Totò, one of the most charismatic, compulsively watchable Italian actors of the 20th century - even if he spent most of his career on droll but unremarkable fluff. This is not one of his best movies - see, for example, his part as a scornful master thief in Monicelli's I Soliti Ignoti - but it's rather amusing nonetheless.Greedy baron Peletti (Totò) hides a box of precious jewels his father had destined to their town. The townspeople trick him into believing he is dead and, in a fake afterlife, try to convince him to finally give up the heredity.Although Totò's performance as the avaricious baron is by far the best thing about the picture, I have to say a young Carlo Croccolo is also rather funny as his miserable butler.Overall, not a great movie, and almost every scene without Totò (thankfully, very few) is worthless; besides, while the first act (before the fake death) is amusing, and the second (the baron's ordeal in the "afterlife") is also not bad, the last part drags. However, Totò's interpretation of the archetypal greedy character inevitably brings a smile to my face.6,5/10

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