De Sica. It feels late to finally be adding one of cinema’s great realists. Bicycle Thieves is an all-time film (14th all-time on my top 500) and with Umberto D, Shoeshine and Two Women we have four top 500 films. This is the same amount as Rossellini (and De Sica is the one with a top 100 film— and his in the top 15!) and ahead of the Dardenne brothers and Kiarostami. Satyajit Ray has five films so with a longer proper study he may pass De Sica but for now De Sica remains ahead with Ray’s films all failing to fall in the top 100.
Best film: Bicycle Thieves. If I actually met someone that called Bicycle Thieves “overly sentimental” I might punch them in the face. Haha. I was not surprised to read some of the “sentimental” critiques of De Sica while doing my research for this project but it certainly doesn’t apply to this film in my opinion. Even though it’s 3 years after Rossellini’s Rome, Open City this is the landmark Italian neorealism film. It’s a masterwork and belongs right behind Citizen Kane on the list of the best films of the 1940’s (ahead of Magnificent Ambersons, Casablanca and The Third Man).
total archiveable films: 9
top 100 films: 1
top 500 films: 4 (Bicycle Thieves, Umberto D, Two Women, Shoeshine)
top 100 films of the decade: 4 (Bicycle Thieves, Umberto D, Two Women, Shoeshine)
most overrated: Miracle in Milan is #519 on the TSPDT consensus list and I’d be hundreds of spots below that. I saw it in 2015 for the first time and I was really disappointed (given its reputation). It’s certainly archiveable and I get what De Sica is going for but I wasn’t happy to find this (his #3 ranked film on TSPDT) is almost a pure fantasy film. It’s a solid film but certainly not the great film I had hoped it would be and I think I would’ve preferred a little of a weaker neorealist film than this fantasy film which debunks the dedication he had to neorealism in his oeuvre.
most underrated: Shoeshine. I have no idea why this early neorealist film isn’t in the TSPDT top 1000. It debuted 7 months after open city. I have it as a must-see film (meaning top 5 of its year quality). It’s tragic and brilliant.
gem I want to spotlight: Two Women. Sophia Loren won an Oscar for her work here. She’s fantastic and this is a difficult and depressing neorealist must-see film. This easily could’ve gone in the “underrated” category above- both this and Shoeshine are in my top 500 and outside of the TSPDT top 1000.
stylistic innovations/traits: Just because these films look like just regular dramas in today’s cinema it doesn’t mean they aren’t landmarks in the history of cinema. Yes, Rossellini’s film came first and he’s probably more dogmatic in his approach and dedication to neorealism but Bicycle Thieves is always going to be De Sica’s trump card and while we’re comparing the two founding neorealist masters I think De Sica’s Umberto D is superior to Rossellini’s #2 (Germany Year Zero). Italian neorealism as a whole, in which Rossellini and De sica are the Truffaut and Godard, is unbelievably important to the history of cinema. Both movements are antithetical to Hollywood of sorts, and I’m not sure we have a Satyajit Ray, a Wendy and Lucy, Elephant, the Dardenne brothers, Lars von Trier (the entire Dogme 95 movement actually), Abbas Kiarostami, Blue is the Warmest Color, Boyhood, etc…without De Sica and Rossellini. It’s an important counter-balance to not only Hollywood’s polish but the various expressionistic movements throughout this artform’s history.
top 10
- Bicycle Thieves
- Umberto D
- Two Women
- Shoeshine
- Miracle in Milan
- Yesterday, Today, Tomorrow
- Marriage, Italian Style
- The Gold of Naples
- The Garden of the Finzi-Continis
By year and grades
| 1946- Shoeshine | MS |
| 1948- Bicycle Thieves | MP |
| 1951- Miracle in Milan | HR |
| 1952- Umberto D | MP |
| 1954- The Gold of Naples | R |
| 1960- Two Women | MS |
| 1963- Yesterday, Today, Tomorrow | R |
| 1964- Marriage, Italian Style | R |
| 1970- The Garden of the Finzi-Continis | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
De Sica (despite being a great director) regularly acted. From the early 1930s all the way up until 1974, when he passed away. A lot of this is due to the fact that he was a passionate gambler and needed the money. He had 50+ acting credits before Shoeshine was even made in 1946. Overall he had 150+ acting credits. Most of these, I think were comedies. His best role in general is regarded as in compatriot Roberto Rossellini’s Il generale della rovere in 1959 in the lead role. He had other successful films as an actor too, like Bread, Love and Dreams in 1953 (which was nominated for Best Screenplay at the Oscars) and also his own directed film The Gold of Naples in 1954. Where he leads a section of the anthology as an actor. Blood for Dracula is actually his last feature film role. He also released his last film as a director that year, The Voyage with Sophia Loren and Richard Burton.
Study Summary: Vittorio De Sica
I actually did a Vittorio De Sica Study in the past, but it was t was only my 3rd study. However, my first few studies were just me watching the films of directors in chronological order and giving grades, so I wanted to do a proper Study with my Notes and Thoughts Sections
Vittorio De Sica is best known for his work in Italian Neorealism, a film movement/era/genre which emerged post WW2 although like other movements/eras there is not always a clear cut start and ending. De Sica is one of the Godfathers of Italian Neorealism and his most acclaimed film, Bicycle Thieves (1948) is not only considered by many as the best film of the genre but also the most quintessential along with Roberto Rossellini’s Rome, Open City.
The core tenets of Neorealism include
# 1 On location shooting rather than typical movie sets
# 2 The use of nonprofessional actors/actresses
# 3 Subject matter that focused on poverty or other related social and economic issues
# 4 Depicting everyday life of ordinary citizens over more plot heavy Hollywood movies
# 5 Use of natural light and documentary style camera work
De Sica has 5 Neorealism films although some of his other films have elements of it. All 3 of his Masterpieces are Neorealism. Putting Bicycle Thieves at number 1 was not as clear as I would have thought and that is completely due to the greatness of Umberto D. Bicycle Thieves and Umberto D are definitely his two best films and were tough to pick between
Orson Welles said the following after watching Shoeshine (1946):
“In handling a camera, I feel that I have no peer. But what De Sica can do, I can’t do. I ran his Shoeshine recently and the camera disappeared, the screen disappeared; it was just life.”
While this quote was specifically about Shoeshine, it essentially describes all the best neorealism films including Bicycle Thieves and Umberto D. The simplicity of the narrative in these films is remarkable; you have a protagonist trying to relocate his stolen bike and a senior citizen trying to come up with rent money to continue to live in his crummy apartment before the callous landlord removes him for a younger tenant. There is little in the way of contrived plots that are present in most films. In De Sica’s Neorealism the stories unfold organically. Miracle in Milan (1951) is a bit of an exception as it contains elements of fantasy that make it seem like it could be directed by Frank Capra, although it still maintains other elements of the genre including nonprofessional actors and on location shooting
While best known for Neorealism, De Sica is quite versatile. I love his work with Sophia Loren. She and Marcello Mastroianni have immaculate chemistry with great comedic and dramatic scenes together. Two Women (1960) features perhaps the best performance in the Study, as Loren plays the lead in a devastating film where Loren shows off a complete emotional range. Loren has so much confidence and is of course gorgeous
De Sica was quite prolific and has directed a number of other feature films, but I think I covered his most essential work. To be clear I am certainly not suggesting that De Sica’s other films are not worth seeking out. However, my priority was covering all of his neorealism work and a few of his best films from other genres
Final Ranking and Grades:
# 1 Bicycle Thieves (1948) – MP
# 2 Umberto D (1952) – MP
# 3 Shoeshine (1946) – MP
# 4 Two Women (1960) – MS
# 5 Miracle in Milan (1951) – HR
# 6 Marriage Italian Style (1964) – HR/R
# 7 Yesterday, Today, Tomorrow – HR/R
# 8 The Roof (1956) – R
# 9 The Children are Watching Us (1944) – R
@James Trapp- Have you seen Il Generale Della Rovere (1959)?
@Malith – I have not, the only films I have seen that are not included in the rankings are The Gold of Naples (1954) and The Garden of the Finzi-Continis (1970). I watched both a few years ago and both are solid. I actually intended on watching the latter but could not find with my usual sources. Again, I do not mean to insult his other works but I am content ending the study here
@James Trapp- Have you Sunflower (1970)? De Sica is the lead actor in Il Generale Della Rovere, not the Director. He consistently worked as an actor and has over 150+ credits. And his only Oscar nom came for acting.
@Malith – “I have not, the only films I have seen that are not included in the rankings are The Gold of Naples (1954) and The Garden of the Finzi-Continis (1970).”
Marriage Italian Style (1964)
Cast:
Sophia Loren as Filumena Marturano
Marcello Mastroianni as Domenico Soriano
Notes:
Opens with camera moving 360 degrees in the city streets, shortly after Sophia Loren makes entrance as Filumena Marturano
3:25 Marcello Mastroianni as Domenico Soriano, a tuxedo wearing successful businessman
7:17 close ups on characters faces in shot reverse shot with Domenico vising a sick Filumena in the hospital
8:55 a high pitch sound effect followed by a camera push in on Domenico’s face before a dissolve takes the story into the past
12:55 Domenico and Filumena meet when Filumena breaks into Domenico’s house during wartime when bombs are heard outside
13:08 Domenico and Filumena in shot reverse shot, with light illuminating their faces in the dark room, they are clearly attracted to one another
16:36 Filumena’s red dress stands out as it contrasts with the desaturated surrounding
18:07 upbeat score as the gorgeous Filumena walks the streets in a showy outfit
26:32 beautiful shot on balcony with the city in the background of the frame
32:02 mirror to frame shot
42:13 an inverse of the shot at 8:55
47:33 Domenico is caught talking to another woman on the phone by Filumena, leading to a fight
50:05 same sound effect and camera movement to close up shot and dissolve from 8:55
55:48 frame filled with pastries in scene at bakery
56:50 an inverse of shot at 42:13
1:05:55 extreme close ups on characters faces
1:08:36 Filumena watching reflections on glass store window
1:10:56 narrow frame in frame using partially open door
1:16:19 phenomenon acting from Loren
1:17:20 composition effectively shows Domenico’s distancing relationship with his family
1:27:47 shot reverse shot, Filumena shown in low angle shot as she now has more power in the relationship
1:34:14 Domenico greets 3 sons of Filumena inside Church
1:37:25 montage of family pictures inside Church before the wedding
1:39:21slow camera fade out to end the film
Thoughts:
Sophia Loren and Marcello Mastroianni are excellent as expected. The film has comedic elements although its tone overall is more serious than Yesterday, Today and Tomorrow (1963). The film explores class differences and a related power imbalance in the film’s central relationship. Does anyone play an immature playboy better than Mastroianni? I look forward to a future Fellini Study
During shot reverse shot, the power differences are depicted using slightly different camera positions with Mastroianni initially appearing with a slightly low angle shot as he holds the power initially given his wealth and class status compared to Loren’s character who is a sex worker with no immediate family
Shot on site in Naples and Rome. Location shooting is a trait seen throughout De Sica’s filmography and here he uses several well know landmarks
One of the formal highlights comes in the way of moving between timelines. At 8:55 there is a high pitch sound effect followed by a camera push in on Domenico’s face before a dissolve takes the story into the past. There is essentially an inverse of this shot when the story returns to the present. This is repeated again in the film almost exactly halfway as the film’s perspective changes to Loren’s character. I like the use of dissolves when changing timelines
Verdict: HR/R
Yesterday, Today and Tomorrow (1963)
Cast:
Sophia Loren
Marcello Mastroianni
Notes:
This is an anthology film which consists of 3 stories. Each of the 3 stories star Sophia Loren and Marcello Mastroianni as a couple of love interests in 3 different locations
Story 1: Adelina of Naples
Story 2: Anna of Milan, starts around 52 minute mark
Story 3: Mara of Rome, starts around 72 minute mark
Thoughts:
This is the first color film of my study and the first anthology film although I watched The Gold of Naples (1954) several years ago.
I fully admit that anthology films have never been my favorite story telling format. However, this one has several things going for it starting with the lead performers, who are Sophia Loren and Marcello Mastroianni. It is hard to find an actress and actor more charming and fun to watch than these two. Unlike certain anthologies that tell a collection of stories from several directors, this is all from Vittorio De Sica
The 3 vignettes with variations around different locations reminds me of Jarmusch. Sophia Loren plays 3 different women with distinct looks including 3 different hairstyles. Marcello Mastroianni’s characters are not identical but definitely more similar in look and personality across the 3 stories in comparison to Loren
The film is mainly shot on location. Adelina of Naples is shot on location capturing the working class neighborhood and all the street markets. Many of the frames are filled to the brim with characters. De Sica uses a 2.35 aspect ratio and there are some really impressive compositions, especially in the 1st story. There is a standout composition in the 1st story around the 41 minute mark there is a gorgeous shot with a purple horizon. The lovers are speaking to one another despite being physically apart
The chemistry between Sophia Loren and Marcello Mastroianni is absolutely remarkable
Verdict: HR/R
Two Women (1960)
Cast:
Sophia Loren as Cesira
Jean-Paul Belmondo as Michele Di Libero
Eleonora Brown as Rosetta
Notes:
Opens with bombings in streets of Rome
Sophia Loren as Cesira is a woman running a shop, her husband who was substantially older than her passed away
7 min Cesira talks with her deceased husband’s friend who starts to make moves on her
7:45 light seeping into building through doorway
9:20 Cesira’s captured with light creating circular frame in frame surrounded by pitch black during implied sex scene with Giovanni, a friend of her deceased husband
11:18 low angle shot with deep focus
15:53 low angle shot of train, obnoxious young men laughing at the attractive Cesira and her teenage daughter who walk off toward the mountains
22:01 two women walking through mostly unpopulated countryside
22:56 side angle shot of countryside after low flying plane shoots at the women
23:53 high angle shot of mountain community
25:55 blocking used to show closeness of community as they eat meals together
33:56 triangle composition with Rosetta in background
39:00 concern over Germans after the previous scene in the mountains
44 min Cesira talks about Giovanni again
49:32 two shot of Cesira and a frustrated Michele who feels he is not being listened to
52:41 wide angle shot captures village people in the field with fog infused throughout the frame
55:13 nice foreground/background work
56:43 low angle two-shot with mountains in the background
58 min a disturbing interaction with a young mother who implies soldiers killed her baby
1:07:43 great blocking with villagers spread throughout the frame in several depths of field in a scene where they are startled by the arrival of German soldiers who demand food and water
1:10:36 Michele forced away by gunpoint by German soldiers to serve as a guide
1:14:16 Allies capture Rome
1:19:50 cut to a shot of birds flying over the bombed out Church from Rosetta’s POV
1:20:10 large shadows representing encroaching Moroccan soldiers
1:21:33 rapid camera push in on Rosetta before sexual assault
1:26:41 shot of a devastated Cesira kneeled over in the dirt road with her hands covering her face
1:30:00 the traumatized women are given a ride by a character played by Renato Salvatori (Simone Parondi in Rocco and His Brothers)
1:33:40 a devastated Cesira learns Michele was killed, high contrast lighting accentuates the surrounding darkness
1:35:37 Rosetta returns leading to intense scene with Rosetta emotionally distant
The film ends with a great slow fade out of Cesira and Rosetta embracing after Rosetta’s emotional detachment finally gives way to the horror she has tried to suppress
Thoughts:
This is a film in the post neorealism era, but it does contain some of the classic elements of neorealism such as the plight of the lower class, although it is during WW2 instead of Post WW2. You also have shooting on location. Much of the film is set in Ciociaria, a mountainous region. There are effective low angle shots with characters in the foreground, and the landscape in the background reminding audience of distinct location. Great use of blocking in shots of the villagers, highlighting the sense of community that Cesira and Rosetta experienced for a while. De Sica uses less two-shots during this section of the film
Sophie Loren is terrific as a strong willed single mother trying to not only survive but serve as a role model and protector of her young daughter. She plays a confident woman who is unintimated by most of the male characters
Rosetta’s face in the scenes following the assault is absolutely devastating, her innocence and feeling of safety has been completely robbed, she becomes emotionally detached
The pacing is effective in immersing audience into the film’s world and the growing threat of violence which builds gradually throughout the film
The sexual assault scene is shot effectively and without the need to actually capture the attack with explicit imagery. Instead, large ominous shadows appear as an omen of the horror that is about to happen. And shortly before that there is a cut to a shot of birds flying over the bombed out Church from Rosetta’s POV. When the soldiers move in there is a rapid camera push in on the face of the terrified teenage girl right before she is brutally attacked. This takes away any need for exploitative violence, what is imagined can be just as devastating or at least disturbing
High contrast lighting is used in several scenes to accentuate the darkness surrounding Cesira
Belmondo’s character could not be more different than the character he plays in Breathless (1960); here he is an intellect with a somewhat sheltered upbringing
Verdict: MS
The Children are Watching Us (1944)
(Non-Professional) Cast:
Luciano De Ambrosis – Pricò
Notes:
2:32 low angle shot of apartment building and upbeat music
3:01 puppet show at local park
5:21 Nina and Roberto are having an affair and meet in public locations to maintain discretion, Roberto says he can’t live without her and wants to run off together
6:01 nice use of natural objects to frame clandestine interaction
9:02 condominium board meeting
13:57 cut to POV shot from father of empty bed
15:41 cut to a shot of the boy’s aunt standing in front of a mirror
21:44 children climbing haystacks
25:27 score indicating rising danger
28:21 camera slow push in on Andrea and his son Pricò
29:24 start of a strange visual sequence
29:57 slightly canted angle shot of blurry images during train ride
30:30 low angle shot capturing dream like images or nightmare like images
31:54 shot of clock from Nina’s POV followed bv Pricò asking her to stay
35 min Nina has returned to her old life
36:08 high angle shot of horse track from Pricò’s POV
39:37 return to normalcy with family dinner
40:55 Roberto shows up and demands to speak with Nina
42:46 Pricò shot in doorway frame in frame
48:18 camera floating through the restaurant
55:13 shot reverse shot with
56:04 camera push on in Roberto sitting alone at table watching Nina
57:00 ballroom dance sequence with active camera movement
1:01:40 Pricò catches his mother and Roberto and is disappointed
1:03:43 terrifying sequence with Pricò narrowly avoiding oncoming train
1:08:12 Nina shamefully isolated in frame following cut from shot of police and onlookers watching Pricò being taken to his mother
1:18:14 Pricò and his father trying on hats at a clothing store
1:19:42 Pricò’s father has a final embrace
1:20:28 POV of father from Pricò’s view
Thoughts:
I was aware that Shoeshine (1946) was not De Sica’s debut film although it is viewed as a landmark as it is considered to be his first true Neorealism Film. Even so, I discovered that this 1944 film, The Children are Watching Us, was on the Criterion Channel
This is the first collaboration between De Sica and screen writer Cesare Zavattini
This film is more like a protype for Italian Neorealism, using professional actors and actresses to play the adult characters. However, it uses non-professional child actor Luciano De Ambrosis, to play the protagonist, a young boy named Pricò who is forced to deal with his parents and their marital problems as his mother is engaged in an affair with a younger man
There is a strange nightmare sequence starting around 29 min minute that has a surrealism element to it
Overall, it is a family drama, told partially though the perspective of the child. The family is well off so this is not the story of impoverished Italians like most of the Neorealism films. It does have a tragic ending for sure
Verdict: R
The Roof (1956)
Cast:
Gabriella Pallotta – Luisa (as Gabriella Pallotti)
Giorgio Listuzzi – Natale, Luisa’s husband
Notes:
Thoughts:
The Roof (1956) or Italian translation Il Tetto (1956) tells the story of a young married couple who have trouble finding a place to live due to financial constraints, but living with various relatives has its own issues. This quest to find a home is the focal point of the film’s narrative
Bus scene captures the Italian landscape from beach to high rise apartments
The film is set in a period where Italy is in transition after the brutal post WW2 recession. The period which is known as the Italian economic miracle started in the early to mid-1950s. The building of high rise apartment buildings are a visual representation of this
Italian Neorealism staples:
The film uses non-professional actors/actresses
On location shooting
Plight of the poor
Noises such as airplanes taking off adding to realism
Camera close to walls capture the small apartment rooms and cramped spacing
Cesare Zavattini wrote the screenplay, which is fairly straightforward but effective as the story of the young couple in love but in need of a steady home is established, leading to the main action in the final third of the film where they need to build a house with a roof before the authorities can order them to stop the construction
A lesser neorealism filmed compared to the others but worth a viewing
Verdict: R
@James Trapp- Did you not see The Gold of Naples (1954)?
@Malith – I watched it a few years ago. It was solid,though I am not the biggest fan of Anthology films. I decided to skip this time
@James Trapp- Have you seen Dead of Night (1945)? Now that’s one anthology without weaknesses.
@Malith – could have done without some of the silliness at the end of the golf story, but yeah otherwise flawless
@Malith – I have not, I am probably going to watch Yesterday, Today, Tomorrow (1963) for this Study, I remember enjoying it when I watched several years ago
@Harry- I don’t believe there are weaknesses within the golf story. If there is a problem it is with how the ‘full’ golf story lines up with the rest of them. But I believe it offers well done respite after the disturbing ‘mirror’ story. And I also like how the lead Mervyn Johns is like an audience surrogate and wants to leave after the ‘mirror’ story, so Culver tells him the ‘golf story’ to get him cheered up. It’s a very well structured film. The ‘golf story’ is between the ‘mirror story’ and the even longer ‘dummy story’. And even the first ‘bus conductor’ story is a good one to just get your foot into the water. It’s more like a disturbing coincidence than a full-fledged horror. With the creepy Miles Malleson who is also in that outstanding festival sequence in ‘Saraband for Dead Lovers’. All the 4 ‘creepy’ stories comes back at the end. Which I was surprised by. Probably an influence on ‘The Shining’.
@Malith – Very well said.
@James Trapp- The Gold of Naples is not the only anthology film starring the great Silvana Mangano, De Sica was involved in. He also did a part of the Mangano starring The Witches (1967) in collaboration with four other directors (including Pasolini and Visconti) which was also an anthology film.
Umberto D (1952)
Cast:
Carlo Battisti as Umberto Domenico Ferrari
Maria-Pia Casilio as Maria, the maid
Lina Gennari as Antonia Belloni, the landlady
Notes:
Opens with marching senior citizens with signs about pensioners
2:41 close ups and medium close ups to depict clash between protesters and authorities
3:13 cut to overhead shot of pandemonium in the streets
3:57 Carlo Battisti as Umberto Domenico Ferrari, an old man with a dog named Flike
5:52 nice use of foreground/background with Umberto in foreground and statue in deep background, the deep focus stands out
10:23 low angle shot in hallway with the abrasive landlady approaching when Umberto complains about his room being occupied, he owes back rent
13:11 ants on kitchen walls, showing how rundown, the place is
17:25 high angle shot of approaching soldiers from POV of Maria, who works as a maid and tells Umberto she is pregnant but does not know who the father is as she has slept with two men
17:47 venetian blind pattern over Umberto and Maria
18:48 perfect peephole shot
19:07 low angle shot of empty hallway
19:16 Flike standing on hind legs
23:23 great composition with Umberto surrounded by various objects in the frame creating oppressive atmosphere
25:45 camera slowly turns capturing the landlady’s stylishly decorated room, a substantial difference compared to Umberto’s room which is small and bare
29:55 dimly lit hallway adding to atmosphere
34:19 shot outside apartment from Maria’s POV
38:21 Umberto parting ways with dog after calling in sick so he can be taken to a medical facility
40:21 depth of field in sick ward
41:06 nice use of blocking with Umberto in foreground and doctor in background of frame
44:48 deep focus shot of sick ward
46:58 slow fade out with shot of Nun in foreground and background out of focus
48:26 Umberto looks small compared to buildings in city
49:00 doorway as frame in frame inside apartment building
49:39 Umberto returns to apartment to find people in his room and his dog missing
50:10 land lady in deep background via shadow
51:02 Umberto learns landlady let his dog loose
54:05 close up two-shot on Umberto and another man looking for his dog at the shelter
55:39 nice use of foreground/background
56:06 close up on Umberto and his dog reunited
57:12 Umberto’s pride under attack as landlady insinuates, he does not pay his debts
1:00:15 great composition with Umberto in foreground turned to the side
1:00:47 Umberto in foreground with large buildings surrounding
1:04:00 Umberto’s reflection on vehicle under the face of the man riding on it
1:06:41 camera push in on the giant hole in his apartment
1:09:26 high angle shot of street from Umberto’s POV, this follows with ominous music playing as camera moves in on pavement implying that Umberto is think of jumping until the camera cuts to his loyal dog
1:10:45 great frame in frame using hole in the wall
1:13:20 shot reverse shot in conversation between Umberto and the maid, sense of finality to the brief talk, close up shots on faces during this sequence give it a sense of intimacy
1:14:31 Umberto and dog in far right side of frame with shot of otherwise empty streets
1:15:31 extreme low angle shot of maid overlooking bus that Umberto is riding
1:19:27 close ups on dogs at shelter convince Umberto to not leave his dog there
1:19:54 low angle shot with Umberto diminished by huge structures in frame
1:24:52 ominous music as Umberto walks toward train tracks while holding dog
1:25:38 dog screams and runs off
1:26:42 deep focus shot at park
The film ends with Umberto and his dog reuniting in a great shot with a static camera as Umberto and his dog run into background of frame with rows of trees obstructing parts of the frame
Thoughts:
This is widely regarded as one of the best neorealism films and probably De Sica’s best film after Bicycle Thieves (1948). It is also a return to classic neorealism after the more fantasy infused Miracle in Milan (1951)
Umberto D is amongst other things a great character study. Umberto is a senior citizen barely getting by on his meager pension. He has no grand ambitions or unrealistic dreams. He is a man who simply wants to continue to survive, and he spends most of the film trying to get a small amount of money together to pay his rent. He has no family and few friends though he has his loyal dog. Umberto is placed into situations where he is forced to grapple with the limits of his desperation. In a terrific sequence Umberto puts his hand out after watching other pensioners begging in the streets but at the last moment Umberto flips his hand around as if he were merely trying to find out if it was raining outside during a cloudy day. He may not have much but he al least was a certain level of pride which prevents him from committing himself to the aforementioned interaction
Social commentary is a tenet of neorealism and there is plenty of that here. Umberto is an individual, but he is functioning as a representative for his generation. The film starts with a protest in which Umberto is a part of as they carry signs while marching through the streets. He is treated as a nuisance throughout the film, in particular from the landlady who barely even treats him like a tenant. She makes renovations and allows others to use it when Umberto goes to a health clinic for a few days. Umberto’s interactions with various people from his past further emphasize his dire circumstances; people he knows try to get away as quickly as possible, in some instances because they sense he is about to ask them for money or some other favor. They are not deliberately cruel; they just don’t have much need to deal with him
The film is shot on location in Rome, and the city is a character it and of itself. Umberto diminishes is several scenes when walking through the city streets as large buildings and other structures make him look insignificant by comparison. The low angle shots are interesting as they normally are used to signify power, but Umberto is shown in several throughout the film only it is when he is standing near large structures that make him insignificant by comparison
The framing is crucial in capturing Umberto’s isolation and loneliness as he is frequently shot as the sole person in the frame. Shot reverse shot is used for several scenes rather than two-shots. The foreground/background work is used in a number of scenes with various landmarks of Rome in the background. This is achieved partially with the use of deep focus shots
Camera push ins are used effectively to communicate the mindset of Umberto is several scenes when he is considering killing himself whether it is jumping out of the building or walking in front of a moving train. The visual storytelling is effective as Umberto’s thoughts and mindset in frequently communicated to the audience
Close ups are used several times, there is one in particular that stands up and that is when the camera lingers on the face of Umberto as he tries to get sleep, Carlo Battisti’s face demands sympathy, with sweat on his brow and his eyes half closed, this is a man exhausted just trying to get by. He has no grand ambitions, he just wants to get by
Animals often are used sentimentally in film but that is not really the case here as his dog Flike is what keeps Umberto from killing himself in two key scenes including the final scene. Flike helps Umberto to retain his humanity and dignity
This film has all the hallmarks of neorealism, a naturalistic performance from the nonprofessional cast, incredible use of photography which captures Umberto’s relationship with the City, a simple but powerful narrative, and visual storytelling through the use of framing, blocking, and a static camera to immerse the viewer into the story
Verdict: MP
Miracle in Milan (1951)
Cast:
Emma Gramatica as Lolotta, the elderly woman who raises Totò
Francesco Golisano as Totò, a kind and cheerful orphan
Notes:
Part I
Starts with tracking shot of woman walking along the water, she comes across an abandoned baby in her garden who she adopts and names Totò
6:53 great use of framing with a key shaped peephole shot as camera moves into the room
7:40 stationary camera as young boy follows horse carriage down the street
10:58 shot of Totò captured in a frame in frame
11:33 Totò is now 18 years old and is cheerful and polite even when this is not returned
14:04 high contrast with streetlights at night
15:58 Shot of a shanty town covered in snow
16:58 ray of sunshine, the residents of the town huddle together under the rays
19:27 fog dispersed throughout the frame in low angle shot of passing train
23:44 great framing in this low angle shot of three men looking over statue
26:17 Totò humorously mirrors a series of characters
32:55 low angle shot of group of wealthy men looking to purchase land
34:13 nice blocking and use of foreground/background in this composition with characters in 3 depths of field
38:32 framed filled to the brim with characters emphasizing community
47:30 water hole shooting up water with townspeople cheering
50:24 ominous black clouds over town after petroleum fire begins
Part II
51:15 Totò walking through housing
52:30 rare use of close up on character’s face
55:22 water spraying from the ground
56:28 wealthy businessman announces he has purchased the land, Totò stops violence
1:06:06 police fill frame in low angle shot making them appear intimidating as they have come to carry out the eviction of the land
1:06:25 Totò in frame by himself after series of shots with frame packed with characters
1:06:34 longs shot of Totò climbing the pole and waving white flag
1:07:05 ghost of Totò adopted mother who comes down from sky
1:08:01 Totò realize he can make things appear
1:10:33 high angle shot of villagers holding umbrellas together to block the water from the hoses of the police trying to evict the villagers
1:14:24 amusing scene involving top hats appearing
1:24:06 Totò continues to grant wishes
1:24:21 a beautiful young woman appears as a bright white figure in the middle of the frame
1:32:16 POV from inside police wagon, shortly after Totò sees ghost like figures
1:33:28 low angle shot with cathedral in the background before Totò fees everyone from wagons
1:34:22 Totò and girl fly away on broomstick
Thoughts:
This is a bit of a change up in terms of neorealism, as this film delves into fantasy. Even so, it still maintains some core elements of neorealism such as the focus on characters living in poverty and the film is shot on location. Still, some may think it too cheerful to qualify as true neorealism. The tone is noticeably lighter
The main character who is named Totò is still carries many of the quintessential everyman components even if he has magical powers
The film has elements of surrealism with the ghost of Totò mother flying from the sky to give him advice and Totò discovering he can make objects appear out of nothing and grant favors from the villagers in the form of gifts
There are some great compositions, particularly the one around the 17 min mark when the character of the village/commune stand in the ray of sunshine, there are actually a few scenes like this
Some of the critics did not love the happy ending but I felt it was appropriate given that it was consistent with the rest of the film. I do not believe a particular film should be obligated to have a happy ending or a tragic ending; it depends upon how it fits with everything before it
Verdict: HR/R
Bicycle Thieves (1948)
Cast:
Lamberto Maggiorani as Antonio Ricci
Enzo Staiola as Bruno Ricci, Antonio’s son
Lianella Carell as Maria Ricci, Antonio’s wife
Gino Saltamerenda as Baiocco, Antonio’s friend who helps search
Vittorio Antonucci as Alfredo Catelli, the Bicycle thief
Notes:
Starts with a group of men looking for work as the man calls for “Ricci” who runs over
3:12 Antonio Ricci in foreground with men looking for work packed in rest of frame as Ricci discovers the job requires a bicycle
4:04 Antonio, isolated in frame, looks small as he walks past large building
6:20 Antonio’s wife Maria swaps bed sheets to sell to buy back bicycle
7:50 frame in frame as Antonio gets bicycle back
9:03 Antonio reporting for work holding the bicycle over his shoulder
14:32 Antonio’s son Bruno cleaning the bicycle
15:42 a proud looking Antonio is playful around his wife getting ready for work
16:32 frame in frame of two-shot of Antonio and Bruno
17:53 shot captures groups of people riding bicycles through the streets
18:56 job is putting up movie posters throughout the city
19:39 the thief is shot in frame in frame
20:00 the thief rides into the street
20:12 a few seconds after theft a shot from a slightly elevated angle of the busy streets with people walking, people on bicycles, buses, and cars accentuating the confusion that Antonio would be feeling in a panic
20:37 tunnel as frame shortly after theft
21:45 medium shot of Antonio after his failed attempt to recover the bicycle
22:13 zoom in on Antonio’s face, pure devastation
31:30 Antonio and Bruno start search for stolen bicycle
35:14 tracking shot from Antonio’s POV of rows of bicycles
41:00 long takes capturing Antonio and Bruno standing in streets during rainstorm
43:30 Antonio sees the thief speaking to an old man in the streets
51:25 close up shots used in back and forth with Antonio and the old man
55:01 Antonio hits Bruno in frustration but feels bad
57:07 A panicked Antonio runs through a tunnel for the 2nd time in the film, earlier it was following the theft and here he is looking for his son Bruno
57:48 low angle shot of Bruno at top of steps
1:00:35 Antonio and Bruno go to restaurant and order wine and mozzarella sandwiches
1:02:40 throughout the lunch scene, Bruno looks over at the rich family with a kid about his age, clearly this lunch is a treat
1:09:35 crossing paths with the thief
1:12:20 Antonio gets in the face of the thief
1:18:52 look of despair as Antonio is told there is nothing to be done due to lack of any proof
1:19:54 static camera as Antonio walks away from taunting crowd
1:22:38 Antonio looking defeated as he sits on a curb
1:24:47 Antonio steals bicycle after contemplating
1:26:46 owner of bicycle refuses to press charges, but Antonio is humiliated in front of his son
Thoughts:
For me, Bicycle Thieves is in a similar category as The 400 Blows and Breathless; these are landmark films that have historical importance as The 400 Blows and Breathless are two of the most known (along with Jules and Jim) and highly regarded films of The French New Wave. Bicycle Thieves is the quintessential example of Italian Neorealism. I understand why some people do not think historical value should factor into a film’s grade, but for me it does. With that said, I admit I still have not figured out exactly how much it should matter; it is a challenging aspect of grading films
I wrote the following for my review of Breathless during my Godard Study:
“There are films which have tremendous stylistic influence, historical importance to a particular genre or film movement, or some other type of cultural relevance when they were first released but might not seem quite as impressive if you watched them today in isolation without knowledge of these aforementioned traits. I think Breathless fits into this category as do films like The 400 Blows and Bicycle Thieves. I actually wrote about this concept before in relation to The 400 Blows and to be entirely honest I still do not have a clear answer on exactly how to approach this. All of this might sound like I am inferring that these films are being elevated into the film canon primary for their importance so to be very clear these are great films regardless, it is just they do not have mind blowing singular images like something like Lawrence of Arabia or Barry Lyndon. Films like Breathless are amazing for numerous reasons covered above, but I do think their historical relevance factors in as well”
Bicycle Thieves serves the archetype for Italian Neorealism; the film uses on site location shooting, nonprofessional actors, and is shot by Carlo Montuori using only natural light. Additionally, there is a straightforward narrative with no plot twists or attempts to deceive the audience
The simple narrative, amongst other things, creates an immersive experience for the audience by aligning the audience with the film’s main character, Antonio. You (the audience) feel like an active participant in Antonio’s journey to recovering his stolen bicycle. You share his heartbreak and understand his desperation that ends with his failed robbery attempt. The camera is often at eye level and static with long takes which contribute to the immersion
The film wastes little time in building the story, everything is set up in motion by the 20 minute mark which is when Antonio’s bicycle is stolen. By that point we know everything we need to know for the rest of the story as we know about Antonio’s dire financial situation, his family, and the identity of the thief which is not kept from the audience because this is not a who done it mystery
This is definitely location as character with post war Rome consisting of damaged or completely destroyed buildings, factories, roads, railroads, and other infrastructure. Bicycle Thieves is both timeless in its universal themes but is also highly specific to its time and place which is post WW2 Rome. The use of wide angle lens is effective in capturing not only the city, Rome, but more specifically the Antonio’s relationship to it. The theft scene which occurs around the 20 minute mark is a great use of aligning the viewer with Antonio, a few seconds after theft a shot from a slightly elevated angle of the busy streets with people walking, people on bicycles, buses, and cars accentuating the confusion that Antonio would be feeling in a panic. From the perspective of Antonio, it feels like the thief just vanished into thin air
I like that the poor characters in the film are not depicted as saintly. Antonio is a man desperate because he has a family to support, but he is not really all that likable; he ignores his son in many of their scenes together, threatens innocent people like the old man at the Church who may or may not have information to identify the suspected thief, and of course ends being a hypocrite by trying to steal a bike even if we understand his desperation. All of his flaws make his character more interesting than if he were a more simplistic and passive character
The final scene is heartbreaking as Antonio loses his moral compass and his dignity in front of his son Bruno who witnesses his father’s failed theft attempt. It is emotionally shattering but consistent with the story as a happy ending would ring false
Verdict: MP
Shoeshine (1946)
Cast:
Franco Interlenghi as Pasquale Maggi
Rinaldo Smordoni as Giuseppe Filippucci
Notes:
Part I
Starts with shot inside prison with patterned shadows during opening credits
2:30 cuts to group of young boys riding horses through the country, shaky camera
4:10 the boys look on at the horses they want but do not have enough money to purchase
5:14 the boys shining shoes in the streets
6:43 shots with camera set near ground as the boys shine shoes, the upper bodies/faces of their customers are off screen
8:52 beautiful shot along water near underpass, shot held for several seconds
16:19 the boys are surrounded by police, with characters packed into the frame
21:44 POV from inside police vehicle with bars in foreground
24:42 exaggerated sound effect upon the boys placing their hands down when getting fingerprinted
26:46 shot of boys with prison bars of cell in foreground
28:54 two-shot of boys with camera set near floor level
33:28 frame in frames via prison cell window
34:50 shot from opening credits where there are pattered shadows and three stories of prison cells
37:29 characters shown is series of isolated frames
38:44 shot reverse shot alternating between high and low angle shots
39:13 a line of prisoners walking resembles a shot early in Fritz Lang’s Metropolis (1927)
40:38 crane shot moving from 3rd floor to ground level
41:15 religious canvas of Christ on the cross
41:40 camera positioned near the 4 characters inside the cell enhancing the claustrophobic atmosphere, putting you with the characters
Part II
45:07 second part of the film starts right where the first part left off
45:20 crane shot following trumpet being played in morning
49:24 prison officials use manipulative tactics to get information from prisoners
52:34 frame in frame using opening in doorway
53:17 upbeat score changes to melodramatic
53:41 close up and medium close ups during this sequence with the boy’s mother visiting
54:08 camera push in on the angered face of Giuseppe Filippucci upon discovering Pasquale Maggi informed on his brother
57:48 a shot of the narrow hallway enhances cramped nature
1:00:50 character blocking in shot inside cramped cell
1:02:20 another shot inside the prison from the opening credits and again at 34:50
1:05:31 fast edits during fight scene in locker room with camera close to characters placing the viewer in the room and feeling a part of the scene
1:06:49 here is a dissolve edit from the prison official writing about violent nature of character and then a shot of that character
1:11:59 children running through streets
1:12:28 the group of children are made to look especially small when next to the surrounding architecture that towers over them
1:13:03 girl and classmates/friends watch on at entrance of courthouse
1:18:50 frame in frame with shot of faces of group of 5 boys packed into a small prison cell
1:19:43 camera gliding through movie room
1:23:30 fire in film room causes panicked exodus as the boys make their escape
1:25:35 low angle shot of prison official who is panicked by the realization of the escape
1:26:50 camera push in on dead child who is killed during escape stampede
1:30:35 Maggi wants revenge but goes too far and accidently kills Giuseppe Filippucci who falls off bridge into rocks below
Thoughts:
I actually did a Vittorio De Sica Study in the past but that consisted of me watching the films and giving a grade, so I wanted to do a proper study complete with my usual Notes and Thoughts Sections
This is one of the preeminent works of Italian Neo-Realism, although it actually is not Vittorio De Sica’s first film. He had directed a couple of films prior, but this is considered to be his true arrival
I watched this on the recently released Criterion 4K UHD and was floored by the quality; there is incredible clarity with crisp black and white as well stark contrast. It is not a coincidence that I choose De Sica for a Study and Shoeshine (1946) was released on 4K
The opening shot of the group of children riding on horses accompanied by an upbeat, optimistic score giving a tone that is full of promise
Early on there are shots of the boys shining the shoes of their various customers. For most of these shots the camera is set near the ground level, and the upper bodies/faces of their customers are off screen in these scenes
The film uses a boxy 1.37:1 aspect ratio. There are frequent frame in frames during the scenes in the juvenile detention as there are shots of the boy using the bars of prison cells or windows into prison cells as a frame in frame which creates a claustrophobic atmosphere. There are also scenes with the camera positioned near the characters inside prison cells which enhances the claustrophobic atmosphere, putting you (the viewer) in the cell with the characters
There are numerous shots of juvenile boys behind prison bars including a shot that reminded me of one from The 400 Blows (1959) which this film proceeds by 13 years. There are actually several similarities between these films which focus on 12/13 year old boys trying to navigate their worlds despite adults who are indifferent, although Shoeshine is substantially bleaker
There are religious images visible throughout the film, specifically portrait of Christ on the Cross which fits into the films suffering theme
There is a sequence with a group of children who show up to the court hearing, as they approach the building, they are captured in a long shot which makes them seem especially small/insignificant next to the large buildings/architecture. This symbolism is particularly effective given the scene proceeds with the court scene which features the powerless child characters sentenced
The second half starts with a perfect crane shot capturing the wake up hours. The film contains some great camera movement where the camera glides through the prison
The adults in the film are portrayed as indifferent and incompetent more than deliberately cruel. The adults treat the juveniles as if they are already a lost cause; there is very little in the way of rehabilitation. The one adult who actually treats the juveniles as human beings resigns
There is a shot during the opening credits showing the inside of the prison with patterned shadows, this shot is shown several times throughout the film. The film uses horses in the opening and final scenes; this bookend represents the childlike joy of riding horses which is contrasted with the tragic ending which saps all the joy from the remaining character. There is also a contrast between the open fields where they ride the horse and the crowded prison cells shown through the film
This film was even better than I remembered, and I thought highly of it the first time I watched
Verdict: MP
@James Trapp- You have posted the exact same review about a month ago below imao.
@Malith – haha I forgot I actually posted the first time. I started a De Sica Study but got sidetracked with a bunch of things and am getting back to it. I rewatched it again and posted
Shoeshine (1946)
Cast:
Franco Interlenghi as Pasquale Maggi
Rinaldo Smordoni as Giuseppe Filippucci
Notes:
Part I
Starts with shot inside prison with patterned shadows during opening credits
2:30 cuts to group of young boys riding horses through the country, shaky camera
4:10 the boys look on at the horses they want but do not have enough money to purchase
5:14 the boys shining shoes in the streets
6:43 shots with camera set near ground as the boys shine shoes, the upper bodies/faces of their customers are off screen
8:52 beautiful shot along water near underpass, shot held for several seconds
16:19 the boys are surrounded by police, with characters packed into the frame
21:44 POV from inside police vehicle with bars in foreground
24:42 exaggerated sound effect upon the boys placing their hands down when getting fingerprinted
26:46 shot of boys with prison bars of cell in foreground
28:54 two-shot of boys with camera set near floor level
33:28 frame in frames via prison cell window
34:50 shot from opening credits where there are pattered shadows and three stories of prison cells
37:29 characters shown is series of isolated frames
38:44 shot reverse shot alternating between high and low angle shots
39:13 a line of prisoners walking resembles a shot early in Fritz Lang’s Metropolis (1927)
40:38 crane shot moving from 3rd floor to ground level
41:15 religious canvas of Christ on the cross
41:40 camera positioned near the 4 characters inside the cell enhancing the claustrophobic atmosphere, putting you with the characters
Part II
45:07 second part of the film starts right where the first part left off
45:20 crane shot following trumpet being played in morning
49:24 prison officials use manipulative tactics to get information from prisoners
52:34 frame in frame using opening in doorway
53:17 upbeat score changes to melodramatic
53:41 close up and medium close ups during this sequence with the boy’s mother visiting
54:08 camera push in on the angered face of Giuseppe Filippucci upon discovering Pasquale Maggi informed on his brother
57:48 a shot of the narrow hallway enhances cramped nature
1:00:50 character blocking in shot inside cramped cell
1:02:20 another shot inside the prison from the opening credits and again at 34:50
1:05:31 fast edits during fight scene in locker room with camera close to characters placing the viewer in the room and feeling a part of the scene
1:06:49 here is a dissolve edit from the prison official writing about violent nature of character and then a shot of that character
1:11:59 children running through streets
1:12:28 the group of children are made to look especially small when next to the surrounding architecture that towers over them
1:13:03 girl and classmates/friends watch on at entrance of courthouse
1:18:50 frame in frame with shot of faces of group of 5 boys packed into a small prison cell
1:19:43 camera gliding through movie room
1:23:30 fire in film room causes panicked exodus as the boys make their escape
1:25:23 fire trucks audible
1:25:35 low angle shot of prison official who is panicked by the realization of the escape
1:26:50 camera push in on dead child who is killed during escape stampede
1:30:35 Maggi wants revenge but goes too far and accidently kills Giuseppe Filippucci who falls off bridge into rocks below
Thoughts:
I actually did a Vittorio De Sica Study in the past but that consisted of me watching the films and giving a grade, so I wanted to do a proper study complete with my usual Notes and Thoughts Sections
This is one of the preeminent works of Italian Neo-Realism, although it actually is not Vittorio De Sica’s first film. He had directed a couple of films prior, but this is considered to be his true arrival
I watched this on the recently released Criterion 4K UHD and was floored by the quality; there is incredible clarity with crisp black and white as well stark contrast. It is not a coincidence that I choose De Sica for a Study and Shoeshine (1946) was released on 4K
The opening shot of the group of children riding on horses accompanied by an upbeat, optimistic score giving a tone that is full of promise
Early on there are shots of the boys shining the shoes of their various customers. For most of these shots the camera is set near the ground level, and the upper bodies/faces of their customers are off screen in these scenes
The film uses a boxy 1.37:1 aspect ratio. There are frequent frame in frames during the scenes in the juvenile detention as there are shots of the boy using the bars of prison cells or windows into prison cells as a frame in frame which creates a claustrophobic atmosphere. There are also scenes with the camera positioned near the characters inside prison cells which enhances the claustrophobic atmosphere, putting you (the viewer) in the cell with the characters
There are numerous shots of juvenile boys behind prison bars including a shot that reminded me of one from The 400 Blows (1959) which this film proceeds by 13 years. There are actually several similarities between these films which focus on 12/13 year old boys trying to navigate their worlds despite adults who are indifferent, although Shoeshine is substantially bleaker
There is a sequence with a group of children who show up to the court hearing, as they approach the building, they are captured in a long shot which makes them seem especially small/insignificant next to the large buildings/architecture. This symbolism is particularly effective given the scene proceeds with the court scene which features the powerless child characters sentenced
The second half starts with a perfect crane shot capturing the wake up hours. The film contains some great camera movement where the camera glides through the prison
The adults in the film are portrayed as indifferent and incompetent more than deliberately cruel
There is a shot during the opening credits showing the inside of the prison with patterned shadows, this shot is shown several times throughout the film. The film uses , horses in the opening and final scenes, this bookend represents the childlike joy of riding horses which is contrasted with the tragic ending which saps all the joy from the films remaining character
This film was even better than I remembered, and I thought highly of it the first time I watched
Verdict: MP
Any views on The Roof (Il Tetto) 1956?
@LeRoi- Good timing- caught it exactly 1 week ago today for the first time- it was on MUBI
Just getting into the Italian neorealist films so I’m no expert but I feel like Umberto D should be ahead of Bicycle Thieves. It felt like a surer and more polished effort with more visual appeal and more shades to the acting performances. I know that probably isn’t the point with this subgenre but it was a more satisfying viewing experience in more levels. But we would probably never have had Umberto without having Bicycle Thieves first, so there’s that. I also think Two Women should be right there with the other two MPs. I think it’s just terrific, and not just because of Sofia Loren’s amazing performance.
@Tom Van Buskirk – Umberto D is amazing, I felt like it was on par with Bicycle Thieves but still had Bicycle Thieves just ahead. I would strongly recommend watching Shoeshine (1946) if you have not already; its not quite the level or the other 2 but few films are
My ranking of De Sica`s films that I`ve seen:
1. Bicycle Thieves MP
2. Umberto D. MP (much closer to Bicycle Thieves than I expected)
3. Two Women MS
4. Shoeshine MS
5. Marriage Italian Style R
What do you think about De Sica as an actor?
He is very far from my top 100 even if I thought he was pretty great in Il Generale Della Rovere and Madame De…
@RujK- agreed with you here
Shoeshine MS
Bicycle Thieves MP
Miracle in Milan MS
Umberto D MP
The Gold of Naples R
Two Women R
Yesterday, Today, Tomorrow —
Marriage, Italian Style —
The Garden of the Finzi-Continis —
Yesterday, Today, Tomorrow and Marriage, Italian Style both show off De Sica’s ability to do comedy and dial down the social commentary at times although ultimately they are still within the framework of neorealism and themes related to class. It’s a treat seeing Sophia Loren and Marcello Mastroianni work together, at times you feel like your watching a Howard Hawks screwball comedy. While these films can’t possibly match his masterpieces they are still worth viewing in my opinion and highly enjoyable.
Working through the De Sica films you have in your Archives (can’t find The Gold of Naples) and quite impressed. My film renaissance started about 3 or 4 years ago and I started mainly with The French New Wave but realized I hadn’t yet covered Italian Neorealism. I saw Bicycle Thieves in a High School film course years ago but otherwise am new to De Sica.
– Shoeshine (1946) definitely has some similarities to “The 400 Blows” and a similarly devastating ending.
– Orson Welles on De Sica: “What De Sica can do, that I can’t do. I ran his Shoeshine again recently and the camera disappeared, the screen disappeared; it was just life.”
– Bicycle Thieves is a straight up masterwork, Bruno watching his father attempt to steal the bicycle is just devastating with everything that leads up to that moment.
– But perhaps the greatest surprise of all for me has been Umberto D. which I’m not entirely convinced isn’t just as great as Bicycle Thieves. The Umberto character is one of the most natural performances and the film in general feels so authentic to the point where like Welles quote above “it was just life”. It’s ending didn’t feel contrived to me (some critics disagreed apparently) but was more of a life goes on ending.
– Just finished Two Women, not an easy watch, but terrific performance from Sophia Loren and doesn’t hold back in depicting the horrors of society during wartime
@James Trapp- great work here. I’m with you on Umberto D! That’s an interesting Welles quote. I haven’t seen that one before. Clearly it is a compliment, and it is accurate- but I also know Welles enough to know the last thing he would want is for his camera to disappear- haha.
@Drake – Maybe that’s the point, Welles knew he wasn’t capable of making a film that doesn’t show off his immaculate work behind the camera. Perhaps Welles was tipping his hat to De Sica’s restraint knowing that it was something that he (Welles) knew himself not capable of. Always interesting to hear great auteurs speaking about one another.
Here is a list of director’s Welles insults, I believe jokingly. It’s tough to tell with him given his man child persona.
https://twitter.com/JFrankensteiner/status/1158570756349071361
@James Trapp- haha yeah you don’t see that these days with the insults between the great auteurs. I’m sure Welles meant his comment on De Sica in that case as a compliment and revered him
That’s the first time you’d seen that Welles quote? I’ve been into cinema for a much shorter time than you and I feel like I’ve seen it a billion times.
@Zane- yep
Drake, where would you say the transfer happens between MS and HR? Would it be around slot 750? And what about HR and R, slot 1500, slot 2000 or so?
@Zane- yes- that feels about right when you include the films from 2009-2020/21
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