Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#96214
of 909177 performers
Top 25%
Lamberto Maggiorani represents the rare performer whose career became more ambitious with every decade — 26 years in, and Lamberto is still choosing the harder script.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Lamberto Maggiorani appears in 5 films in the Nutevio catalogue, and none of them would work the same way without Lamberto. Bicycle Thieves is the clearest case: a film rated 7.9 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, screen presence, rewatchability. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for comedy, drama, history. It is a style built on what is withheld as much as what is played.
Working with Ettore Scola, Pier Paolo Pasolini, Carmine Gallone and others, Lamberto Maggiorani helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Bicycle Thieves (1948) as Antonio · We All Loved Each Other So Much (1974) as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited) · Umberto D. (1952) as (uncredited)
Career snapshot
Ranked #96214 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
5
1948–1974
Career length
26 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.9
Bicycle Thieves
Average Nutevio score
7.4
Across catalogue work
Highest IMDb rating
8.3
We All Loved Each Other So Much
Most frequent director
Vittorio De Sica
2 films together
Longest collaboration
2×
With Vittorio De Sica
Most common genre
Drama
4 titles
Average runtime
1h 42m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
7.3
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.9
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1940s
7.9 average MV
The 1940s are where the work and the material meet. Bicycle Thieves — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1940s
7.9
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1970s
8.3
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1940s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Bicycle Thieves.
Most productive era
1950s
2 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1940s | 1950s | 1960s | 1970s |
|---|---|---|---|---|
| Drama | 7.91 film | 7.41 film | 7.31 film | 7.71 film |
| Comedy | — | 6.81 film | — | 7.71 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Highest rated performance · Career peak
1948Bicycle Thieves
Where our catalogue meets this career, as Antonio. 7.9 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
1974We All Loved Each Other So Much
The current state of the argument, as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
5 of 5 films
as Antonio
Directed by Vittorio De Sica
as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited)
Directed by Ettore Scola
as Sick Man
Directed by Pier Paolo Pasolini
as (uncredited)
Directed by Vittorio De Sica
as un cittadino democristiano
Directed by Carmine Gallone
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Antonio
Bicycle Thieves (1948)
Performance score8.4
The performance the rest of the career is read through. Antonio gives Lamberto Maggiorani a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited)
We All Loved Each Other So Much (1974)
Performance score7.5
We All Loved Each Other So Much asks for something the previous films did not, and gets it. Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Sick Man
Mamma Roma (1962)
Performance score7.2
Mamma Roma asks for something the previous films did not, and gets it. Sick Man is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
(uncredited)
Umberto D. (1952)
Performance score7.2
Umberto D. asks for something the previous films did not, and gets it. (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Antonio
Start here. Bicycle Thieves is the clearest statement of what Lamberto Maggiorani does — accessible, 89 minutes, and rated 7.9 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Lamberto at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Umberto D. (1952)
Same director as Bicycle Thieves, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Don Camillo's Last Round (1955)
A deliberate change of key after Umberto D. — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Mamma Roma (1962)
A deliberate change of key after Don Camillo's Last Round — same instrument, unfamiliar tuning, and the reason range gets mentioned.
We All Loved Each Other So Much (1974)
Keeps the drama register of Mamma Roma but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Vittorio De Sica
Director
2 films together
Notably Bicycle Thieves
Carmine Gallone
Director
1 film together
Notably Don Camillo's Last Round
Pier Paolo Pasolini
Director
1 film together
Notably Mamma Roma
Ettore Scola
Director
1 film together
Notably We All Loved Each Other So Much
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Vittorio De Sica
Director
2 films together · 7.7 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Bicycle ThievesEttore Scola
Director
1 film together · 7.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
We All Loved Each Other So MuchPier Paolo Pasolini
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Mamma RomaCarmine Gallone
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Don Camillo's Last RoundSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
We All Loved Each Other So Much
as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited)
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Umberto D.
as (uncredited)
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Bicycle Thieves
as Antonio
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
We All Loved Each Other So Much
as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Bicycle Thieves
as Antonio
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Lamberto Maggiorani has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Career Achievement
Awarded
26 years of relevant work — not merely a long career, but a long career of choices.
Drama Legend
Awarded
4 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Bicycle Thieves
as Antonio
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Bicycle Thieves
as Antonio
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Umberto D.
as (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Umberto D.
as (uncredited)
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Bicycle Thieves
as Antonio
Images that would survive with the sound switched off.
Best action sequence
Umberto D.
as (uncredited)
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
We All Loved Each Other So Much
as Antonio Ricci in 'Ladri di biciclette' (archive footage) (uncredited)
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Bicycle Thieves
as Antonio
The public vote sits below ours on this one, and the direction is the reason for the gap.
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