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Umberto D. 1952
A decade after Rossellini’s “Rome, open City”, “Umberto D." marks the end of Neorealism, looking back at its unsuccessful revolutionary spirit.
The film follows an old poor pensioner (Carlo Battisti) who’s living in a room he can’t pay the rent for. We follow him as he desperately tries to keep his room, and with that his self-worth.
While following the norms of Neorealism such as the use of non-professional actors, location shooting, conversational speech and loose, episodic structure, De Sica…Translated from by -
Rome, Open City 1945
This review may contain spoilers. I can handle the truth.
Rossellini welcomes its naïve and innocent audience leaving them completely transformed.
"Rome, Open City" revolves around characters connected to the Italian resistance movement during the Nazi occupation in Rome, between 1943-44. A ‘choral film’, which focuses on multiple characters, crossing throughout the story: Manfredi (Marcello Pagliero), a communist resistance leader on the run from the Germans; Francesco (Francesco Grandjacquet) and his fiancé Pina (Anna Magnani) who help him hide with the aid of Don Pietro (Aldo Fabrizi).
"Rome, Open City"…Translated from by