DAY SEVEN

In today’s class we watched our final screening, Umberto D. I thoroughly enjoyed this film. I found it confronting but also very humorous and refreshing. I laughed as much as I worried for Umberto D. He is very loveable and, despite our very different situations in life, I found it very easy to understand him and his tribulations.

The dialogue in this film is minimal. Only what needs to be verbalised is, and what isn't is clearly communicated through actions and the expressive faces of the cast. The many close-ups of despondent, desperate faces, give the film an overall mood of the difficulties they must face every day.

The performances are excellent, especially notable is Umberto's canine companion, Flike. Umberto (Carlo Battisti) himself is brilliant. In his eyes we see torment and loss of hope in mankind and his life.

A particularly touching scene for me was when Umberto decides he must beg for money, but cannot bring himself to do so. It is as though this is the last step you take, when you become helpless, and Umberto refuses to give in to this desperation, refuses to beg for help from others. In this scene I gained a lot of respect for Umberto and the way that he would not sacrifice his morals even after it seems as though he has sacrificed everything else.

The way in which he refuses to give up totally is inspiring and is what ultimate leads to his redemption at the end of the film. He tries numerous pranks in an attempt to improve his way of life, including admitting himself to the hospital, and yet does it with grace and dignity.

The camera is used subtly, it steps back and lets the viewers take in the scene and become a part of it. Deep focus shots are extremely emotive and demand the audience's participation in the film.

The editing is also discreet and minimal so as not to take away from the real focus: the characters and their stories.

Music is omnipresent, often bleak but at times upbeat, although never intrusive.

This film is beautiful and there is much to be learnt; one does not need to be an obvious hero to be an embodiment of the goodness that we seldom find in humanity.

NOTES

REVIEW FIVE: UMBERTO D

Do you want to grow old?  

Umberto D has grown old. And he has nothing left but a wristwatch that won’t sell and a faithful dog. Patience? Waning. Family? Nope. Friends? Unhelpful. Faith? Long gone. 

A true neorealist film, Vittorio De Sica creates a piece that will tug at your heartstrings. In post-war Italy it seems that work and money are more important than education and that a comfortable existence is only for those willing to sell themselves out. 

We follow Umberto as his life gets bleaker and bleaker. The real-time sequences give the film a weight a sense of reality that is not often found anymore. We see everyday activities, the maid Maria cleans and cooks, giving us a more comprehensive understanding of what life was like in a war-torn country: relentless, uncompromising, monotonous and unfulfilling. 

De Sica is subtle but says much; how is one man to cope with nothing? Who is there to help? Unable to beg, Umberto D has nothing but his own resources to depend on, and these are dwindling. 

And yet there is somehow still time to laugh. This film is often as poignant and distressing as it is charming and humorous. Despite the futility of his situation we are invited to see light, to not dwell on unhappiness. And ultimately we are rewarded as Umberto finds redemption.

 

DAY SIX

Today we had our fourth screening, of Bicycle Thieves.

This film is very rich and I can see why it is renowned and highly acclaimed. The script is well-written and comprehensively revised but gives off an air of spontaneity. You really feel as though you are on the streets of Rome watching the action unfold.

There are many beautiful panning shots which allow you to soak in the mood and really understand the scene. A memorable example is at the market when the camera pans across the lines of bicycles for sale. This simple idea is quite touching, and really makes you hope that Antonio's bicycle is one of those in line.

I found this film to be more cinematic than the previous three we have watched for this unit. The soundtrack, in particular. Music seems to be omnipresent, used to build tension. Although it is subtly, it is always there to enhance the mood of the scene. I found this to be much more familiar for me, as it is similar to contemporary films. Saying this, I did miss the beautiful silences in the other neorealist films.

Again, editing is minimal and understated. There was one swipe but apart from that the transitions are very unobtrusive. There were a few glitches in the film but this did not take away from the mood, if anything making it seem more real and wholesome.

The acting was very impressive for non-professional actors. Antonio, his wife and his son all had amazing performances. Bruno, the son, is gorgeous and his hand gestures and funny sayings provided welcome comic relief. The close-ups of Bruno's face when he his hit by his father are very touching and you really feel for the kid. In the final scene, the shame in Antonio's face is palpable; what has he done?

This film was quite confronting and often uncomfortable to watch. It seemed as though there was so much potential for things to go wrong, and sometimes they did and sometimes they didn't.

This certainly is a emotion-inspiring commentary about the injustices of the working class, and how institutions set up to help neglect to help those individuals in need. It also points out the tragedy that in society, the poor are stealing from the poor in order to survive. A telling sign of the direction society is going, but should not be.

This film will certainly stay with me.

Notes

 

DAY FIVE

 Today I started doing some filming. I first needed to devise a route for what I was going to film, and considering that I know the area immediately surrounding the facility we're staying at quite intimately, I decided to stay here.

It was very very hot today and the sun was out so I needed to be aware of shadows and be sure not to get any lens flare. It took a couple of takes.

I also decided to start my route from right outside the door of the convent, in an attempt to imitate my own passeggiatas. From there, the two screens split, one going left and one right. I continue on two routes and split once more for each screen, to make four. I decided to end each journey at a statue of Mary to show the importance of religion in not just Conegliano, but Italian culture and society.

I feel like this was a successful day's filming and I look forward to reviewing the footage.

REVIEW FOUR: BICYCLE THIEVES

Justice Stolen

Every so often comes along a film that hits you., that shows you an uncomfortable new side of humanity. Bicycle Thieves could be it.

Set in the aftermath of World War One, the film follows Antonio, a chronically unemployed man with a self-acknowledged run of bad luck. At last, a job offer, but there's a catch - “no bicycle, no job”. After his wife pawns their bedsheets to buy back a bicycle for Antonio, he sets out, a new man with only success and fortune ahead. Until his bicycle is stolen. Son in hand, Antonio sets out to get back his bicycle. It seems that every institution set up to help the working man is too self-absorbed to notice his plight.

There is something about this film that is unbearable. Its reality – and it is a true neorealist film – sucks from you any glimpse of hope in mankind you may have previously entertained. You are on the edge of your seat. What bad luck could possibly bestowed next, after the police continue to turn a blind eye and the trade union ignore the common man? We can be beastly. In an age of depression, Vittorio De Sica poses many questions, among them, who is helping the working class, the individual? This film will open your eyes to a society devoid of support systems which actually provide support.

Bicycle Thieves also explores the father and son relationship between Antonio and Bruno, a wide-eyed boy who just wants to help his father. The unintentional oversights and misunderstandings between the two are never fully resolved. Even after he fears that his son has drowned, Antonio neglects to hold Bruno's hand while crossing a busy road. But somehow this makes the film more real; their relationship will continue to rise and fall beyond what we see on screen.

This film is not easy. Though uncomfortable as it is, we are often invited to laugh, and the comic relief is very welcome.

A brilliant piece of work that begs to be watched and will incite emotion in all. It has many lessons, and a resounding message: what has come to society when the poor must steal from the poor? After all, contrary to what is often cited, it is not Bicycle Thief, but Thieves. One thief at the beginning, and one at the end.

DAY FOUR

 Today we pitched our ideas for our films. It was very interesting listening to all the different interpretations of the brief and brainstorming some more possibilities based on people's ideas. I felt like it was a productive session.

My idea is this:

I am inspired by the idea of the 'passeggiata', when Italians go for a casual walk during or after siesta. I like the relaxed, impulsive, idle nature of the walk and will try to capture that in my film. It will start by following a street at the corner, ie I will shoot the corner of the edge of the street and the adjacent wall. As the walk progresses I will deviate if there is something of interest, for example some writing on the wall, an interesting door, a plant, and then return to the corner. After a certain amount of time I will come to an intersection and the screen will split to show both potential routes. After following the two screens this will then happen once more, to result in four simultaneous screens. At the conclusion of the film all four paths will end up in the same place.

After pitching, we had our third screening, La Terra Trema. I found the film quite long but ultimately rewarding.

Even though I have a pretty good grasp of Italian I found that I could not understand most of the dialogue because the characters spoke in Sicilian. This was nice because it meant that the film felt more real; these people are real Sicilians, this is their real home where they were born, where they grew up and where they work. The film had a lot of shouting which made the film more passionate.

Often, music was not required and the soundtrack was often filled with voices, or poignant silences. This idea, that the human voice is rich with emotion and can carry the film without unnecessary and artificial sound, is a lovely one.

The director uses many lingering shots. A most memorable shot is the panning one of the fisherman arguing at the market. It is held for a long time and really allows the viewer to soak everything in and see what the markets were like. It is even possible to get to know certain characters in this shot, without specific dialogue, just gestures and shouting. Emotive and raw.

The editing is minimal and unobtrusive, meaning that there are no distractions from the story and the landscape. The environment plays a big role in this film; it is very relevant to the story. The sense of place is central as it affects the characters and their lives. No matter how much they dread and fear the water, “they have to return to the eternal slavery of the sea”. And it is relentless. And ever-powerful. One bad day on the water turns their lives upside down.

The film is certainly a social commentary, highighting the damage that is being done to their livelihoods being caught in this inescapable way of life. The main character, Antonio, is a vehicle for demonstrating how unfair it is, “my blood boils with such injustice.”

There is much to learn from this film. It is beautiful and slow in the way that it reveals the characters by holding the camera and letting their nuances and feelings shine through.

NOTES

 

REVIEW THREE: LA TERRA TREMA

It will tremble

Here we are in Aci Trezza, a small fishing village on eastern Sicily, where “all tomorrows are much alike”.

For the two and a half hours of La Terra Trema we join the Valestros, a traditional fishing family, we are a part of their household. As the tomorrows blend together, each just as disheartening when struggles against the unrelenting sea reap only meagre fares from the wholesalers. Antonio, the oldest member of the household, is incited to take action against the unjust system. He convinces his family to go private, be controlled by no one. The venture is fruitful and the family prosper, until a storm hits and destroys their equipment, their boat, and their livelihoods.

This film will hit you. It is long and gradual, uncompromising and inexorable like the sea. In this 1948 coastal town you will feel, you will hate and you will see; something is not right. The working class are battling; they are controlled by the inescapable rules and norms of society. Is there a way out? And how can people who need change so badly not want it at all? Where is the fight?

It is at the Valestros'. They are on their own in the ring, where justice counts for nothing and unfair hierarchies are set in stone.

This film is powerful in a way that is not intimidating or aggressive, rather it is a calm and patient commentary of life in the village. In true neo-realist style, director Luchino Visconti steps back and lets you absorb the culture and how society works. Lingering scenes allow us to be a part of the haggling at the fish-market, or watch impossible lovers battle their torment.

A film that is difficult to watch but hard not to. There is much to be learnt about the nature of people and the rigid nature of society. Be a part of it. Learn from it. Savour it.

“The currents will catch us beyond the rocks.”

REVIEW TWO: PAISAN

Six Degrees

These are the facts. The facts of war. Not just for one, but for all.

In Paisan, Rossellini offers us six 'episodes'; six stories of war to make a whole, a comprehensive story of the Second World War. As we travel around Italy we meet a whole host of characters: soldiers, citizens, men and women, young and old, Italians, Americans, Germans, good, bad, or shades of grey in between.

These episodes mostly end in disappointment, heartache or death. Just as we are given a little faith in mankind, a glimpse of hope, it is snatched away as we are confronted with the brutal reality of war. This is powerful cinema.

The second in Rossellini's War Trilogy, Paisan is certainly an important film of its time. A neorealist film which is satisfied to sit back and tell the stories of ordinary people living in war-torn Italy in 1944. It demands your participation and engages the audience from start to finish. Watch this film and prepare to travel through the country, share the grief of the characters as they lose what is most important, and withdraw in horror as you see what war can do to people.

Rossellini's commentary of the war speaks through with one resounding message: war is not natural, war should not be. War is inexplicable and makes people behave in ways that they should not. War forces people to act in an unfamiliar and horrifying environment, and it reverberates through everyone.

In using the episodic structure, we gain a comprehensive overview of the war and the lives of people in it. There are no heroes, we meet only normal people who are fighting their own battles. We experience what life is like for them, through their eyes. This insight is not only invaluable, but relevant; the film explores universal truths, and how people act in unfamiliar and uncomfortable circumstances. For us to understand our history we need to get to know these people. And we can meet them here.

REVIEW ONE: ROME, OPEN CITY

Come In, We're Open

It is 1944. This is Rome, war-torn and ravaged.

We meet Manfredi, a resistance leader on the run, who hides from the fascists with Francesco. From here we are presented with a microcosm of post-war Italian society, struggling and disquieted. Pina is Francesco's passionate, indignant (and already pregnant) fiancee. They are to be married by Don Pietro (Aldo Fabrizi), a priest who is helping the resistance. As they seem to be making progress, Manfredi's lover Marina betrays the movement in exchange for drugs and material luxuries. Her tip leads the enemy to Don Pietro and Manfredi. Horrified, we are confronted with a glimpse of the terrors of war when they are consequently captured and persecuted by the Germans.

And it is real. The sense of urgency is palpable. I feel as though I was standing beside Roberto Rossellini, perhaps even holding the shaky camera. I was watching in the crowd during the climax at the end of part one. I was there. This film transports you to Rome, the location so pertinent to the plot and mindset of the time. We begin to understand Italians and a piece of their history.

As well as the connection you form with the characters and their individual plights (and they are many), there is also a sense that what they are experiencing is universal. In some ways, Rome is a vehicle, a place to show how people all over the world are dealing with the atrocities of war, and love in wartime. This representation of universal messages transcends space and time, and is open for us to see through the eyes of ordinary people. In true Neorealistic style, there are no heroes and the non-professional actors make the film raw and unassuming.

As well as being an important film which brings us closer to understanding the hardships of the World War Two, Rome, Open City presents ideas and circumstances that are certainly still relevant. Not just to watch, but to be a part of.

DAY THREE

During today's class we watched Paisan, the second film in Rossellini's War Trilogy. I found this film very rewarding and very emotional. Certainly a film that will stay with me for a while; it demands your attention and participation.

The script of this film is very interesting. The characters speak in three languages: Italian, English and German. There are many conversations throughout the film where one character is speaking in Italian and the other in English. This language barrier will often hinder the conversation at the beginning, but then a mutual understanding will shine through. Perhaps that the commonality of the characters, that they are going through the same struggles and experiencing the hardship of the war gives them a sense of kinship that cannot be obstructed by language. This is a beautiful sentiment and one of my favourite scenes was the conversation between Joe the MP and Pasquale the small child. Despite not having a language in common, they still manage to share a bond and laugh together on a pile of rubble in the middle of war-torn Italy.

I like that non-actors were chosen, however some of the performances were a bit lack-lustre. For example, in the first episode the American soldiers were not very convincing and at times it was a bit tedious listening to them recite their lines.

The film is very stimulating and poses many ideas:

War is unnatural

This seems to be the resounding message of the film. War is inexplicable and makes people behave in ways that they should not. War brings out the true nature people and forces them to act in an unfamiliar and horrifying environment. Rossellini highlights the awful nature of war by giving us glimpses of hope and faith in mankind, and then taking it away.

War reverberates through everyone

Every corner of society is affected by war, even the monastry can feel its effects. Everyone suffers, they may have different sufferances and different ways of dealing with them, but everyone suffers during the way. Perhaps this notion of individuality and the various challenges and obstacles that people face during war is highlighted by the different episodes. Each of these follows a different person and their plights to emphasise war as an individual suffering, not just a whole country. We see the war from the perspective of common people, everyday people who are not heroes but are fighting their own battles.

Did war galvanise insular Italian society?

What does it now mean to be Italian? Does the war bring people together in their sufferances? The divide between North and South, for example, may disappear as they unite to fight a common enemy. Will this sense of patriotism still be there after the war? These are the questions which Rossellini seems to pose.

As in Rome, Open City, this film is a tapestry of different filming techniques which are combined to create a rich experience. There is a newsreel at the beginning of each episode and a shaky camera is used sporadically throughout the film. The close-ups allow us to see the small details, each individual suffering of the characters, and the long shots show the bigger picture. What all the devastation is causing.

The use of location is also very important in Paisan, especially as a Neorealist film. It is set in a disparate set of locations, rural and urban, busy and abandoned. Again this shows us how far-reaching the war is.

This film is very moving. It stayed with me and made me think about what I was being presented with, I was not just handed a message on a platter. It is poignant and confronting. Each of the six episodes offer a new perspective. However, despite their differences, ttogether the episodes comprehensively portray war as horrible, difficult and unjust.

NOTES

 

DAY TWO

Today we had our first screening, Rome, Open City. I enjoyed the film, it was very insightful. I really feel like I know Rome better, and from the perspective of a citizen, not for its beauty and landmarks.

The script was well-written; there was lots of dialogue and it was very engaging. I liked how the actors spoke in dialect, not just a general Italian accent. This helped to make the film and its characters more real, with a real history and family in Rome. The casting was done well. The use of non-actors would have been risky but Rossellini chose well and their freshness and honesty was not at the expense of good performance. The priest was particularly well cast, one of the few professional actors in the film. I thought that the shots of his face as he witnesses the torture of Manfredi were particularly moving. Even though we could not see the torture, we could feel its pain through his eyes.

The film is replete with director's choices such as this. Rossellini often juxtaposes long shots and close-ups to create a dynamic, energetic mood. One of the most powerful scenes in the film, the one in which Pina is shot, is filmed from a distance. This allows the audience to sit back and watch the action, as if they are in the crowd, alongside the action. There is also a dichotomy created between the bustling and chaotic urban environments and the empty, desolate streets and landscapes.

Rossellini also engages the audience through his use of both a still and shaky camera, depending on the mood he wants to be created. When the camera is shaky, there is a documentary-style feeling and the film seems more real, as though it is a reporter capturing the action.

The editing is minimal and generally unobtrusive to fit with the simplistic approach to filming techniques. However there are some swipe transitions which are more obvious. At several times the editing seems choppy. But this adds to the homemade, wholesome feeling of the film, making it seem more authentic.

Rossellini questions the entire notion of war, and its futility: “We're fighting for something that has to be”- Francesco, “Life is filthy and brutal”- Marina.

The sound is incorporated well. At times there is no need for music and Rossellini does not insert it for music's sake. This makes the scores, when they are used, seem more special and the moments more poignant or emotive.

I am certainly glad that I saw this film, it is important and very relevant to Italian history. It explored many interesting questions, such as, “How will we ever forget all this suffering, anxiety and fear?” And his answer resounds through the film: we can not and should not.

NOTES

 

DAY ONE

The first class was an introduction to the subject and my first taste of Neorealism and what it stands for. We started to explore the ideals and what to expect from the subject. Without seeing a Neorealist film, I began to understand what the movement was about, and what to expect in the coming two weeks. I am excited. As a Communication Design student, these are unchartered waters for me but I am looking forward to the challenge. Th brief will stimulate me and the emphasis on this first class was generating ideas for our short film. The film is to be inspired by Neorealism and our interpretation of it.

I did some brainstorming for my short film:

I like the last idea of following corners around Conegliano and breaking up the screens as I take different directions.

It will be an intense two weeks but I also expect them to be very rewarding.