ITALIAN NEOREALISM (1945-1952)

ITALIAN NEOREALISM ITALIAN NEOREALISM (1945-1952)(1945-1952)

A film movement, developed in Italy in the final years of World War 2, A film movement, developed in Italy in the final years of World War 2, which was based on reality, looked at the reality with both a simple andwhich was based on reality, looked at the reality with both a simple andcritical eye, trying to interpret how life and human beings really are.critical eye, trying to interpret how life and human beings really are.

1. Historical1. Historical 2. Documentary2. Documentary 3. Technical3. Technical 4. Critical4. Critical

What is NeorealismWhat is Neorealism

Historical contextHistorical context

• Italy in the aftermath of World War IIItaly in the aftermath of World War II

• Nazi occupationNazi occupation

• Partisan ResistancePartisan Resistance

• A country devastated by the war A country devastated by the war →→ DestructionDestruction

PovertyPoverty

UnemploymentUnemployment

In a state of physical and spiritual ruin, Italy produced one of the In a state of physical and spiritual ruin, Italy produced one of the most important and influential moments in the history of cinema.most important and influential moments in the history of cinema.

A revolution in style and content.A revolution in style and content.

Italian cinema under Italian cinema under MussoliniMussolini

• No direct use of film for propagandaNo direct use of film for propaganda

• A cinema of distraction, whose primary goal was to entertain and project a A cinema of distraction, whose primary goal was to entertain and project a falsely optimistic picture of Italian society:falsely optimistic picture of Italian society:

““Calligraphism” Calligraphism” →→ Costume melodramasCostume melodramas

““White telephone films” White telephone films” →→ Romantic comedies Romantic comedies

• Plot, formulas and conventions similar to those of the classical Hollywood filmPlot, formulas and conventions similar to those of the classical Hollywood film

• CENTRO SPERIMENTALE DI CINEMA (1935)CENTRO SPERIMENTALE DI CINEMA (1935)

The official film schoolThe official film school

• CINECITTA’ (1937)CINECITTA’ (1937)

The biggest film studio in EuropeThe biggest film studio in Europe

Neorealist cycleNeorealist cycle

ROMA CITTA’ APERTA ROMA CITTA’ APERTA (Open City)(Open City)Roberto Rossellini, 1945Roberto Rossellini, 1945

UMBERTO DUMBERTO DVittorio De Sica, 1952Vittorio De Sica, 1952

Neorealist revolutionNeorealist revolution

• To expose the poverty and the social malaise of a postwar Italy in shamblesTo expose the poverty and the social malaise of a postwar Italy in shambles

• To tell stories that take place in the present dayTo tell stories that take place in the present day

• To focus on the life of the lower classesTo focus on the life of the lower classes

• To present problems that derive less from the protagonists’ inner psychological To present problems that derive less from the protagonists’ inner psychological conflicts than from external social conditionsconflicts than from external social conditions

• To adopt a compassionate point of view and a refusal to make easy moral To adopt a compassionate point of view and a refusal to make easy moral judgementsjudgements

• To emphasize emotions over abstract ideasTo emphasize emotions over abstract ideas

IdeologyIdeology


• Documentary visual style Documentary visual style

• Location shootingLocation shooting

• Post-synchronized soundPost-synchronized sound

• Mobile cameraMobile camera

• Non-professional actorsNon-professional actors

• Unobtrusive directionUnobtrusive direction

• Avoidance of artifice in editing, camerawork and lightingAvoidance of artifice in editing, camerawork and lighting

AestheticsAesthetics


• Avoidance of carefully plotted storiesAvoidance of carefully plotted stories

• Episodic structures that evolve slowly and organicallyEpisodic structures that evolve slowly and organically

• No solution offered at the end of the filmNo solution offered at the end of the film

NarrativeNarrative

A film should present life as it is; the viewer feel the need for working at solutions.A film should present life as it is; the viewer feel the need for working at solutions.

The moviegoer is the real hero of life, the true protagonist of life.The moviegoer is the real hero of life, the true protagonist of life.

When we see a film, we must identify ourselves with what we are, rather being When we see a film, we must identify ourselves with what we are, rather being alienated from our true selves by fictional escapism.alienated from our true selves by fictional escapism.

An artistic and moral philosophyAn artistic and moral philosophy

Roberto Rossellini (1906-1977)Roberto Rossellini (1906-1977)Vittorio De Sica (1901-1974)Vittorio De Sica (1901-1974)Luchino Visconti (1906-1976)Luchino Visconti (1906-1976)Cesare Zavattini (1902-1989)Cesare Zavattini (1902-1989)

Key figures of Key figures of NeorealismNeorealism

Political leftists, who blended Christian and Marxist humanism to create a Political leftists, who blended Christian and Marxist humanism to create a socially engaged national cinemasocially engaged national cinema

Zavattini’s theoryZavattini’s theory

““The most important characteristic, and the most important innovation, of what The most important characteristic, and the most important innovation, of what is called Neorealism, is to have realised that the necessity of the ‘story’ was only is called Neorealism, is to have realised that the necessity of the ‘story’ was only an unconscious way of disguising a human defeat, and that the kind of an unconscious way of disguising a human defeat, and that the kind of imagination it involved was simply a technique of superimposing dead formulas imagination it involved was simply a technique of superimposing dead formulas over living social facts.over living social facts.

Now it has been perceived that reality is hugely rich, that to be able to look Now it has been perceived that reality is hugely rich, that to be able to look directly at it is enough; and that the artist’s task is not to make people moved or directly at it is enough; and that the artist’s task is not to make people moved or indignant at metaphorical situations, but to make them reflect (and, if you like, indignant at metaphorical situations, but to make them reflect (and, if you like, to be moved and indignant too) on what they and others are doing, on the real to be moved and indignant too) on what they and others are doing, on the real things, exactly as they are.”things, exactly as they are.”

A cinema without “stories”A cinema without “stories”(from (from Some Ideas on the CinemaSome Ideas on the Cinema, 1953), 1953)

Zavattini’s theoryZavattini’s theory

““To begin with, while the cinema used to make one situation produce another To begin with, while the cinema used to make one situation produce another situation, and another, and another, again and again, and each scene was thought situation, and another, and another, again and again, and each scene was thought out and immediately related to the next (the natural result of a mistrust of out and immediately related to the next (the natural result of a mistrust of reality), today, when we have thought out a scene, we feel the need to ‘remain’ reality), today, when we have thought out a scene, we feel the need to ‘remain’ in it, because the single scene itself can contain so many echoes and in it, because the single scene itself can contain so many echoes and reverberations, can even contain all the situations we may need.reverberations, can even contain all the situations we may need.

Today, in fact, we can quietly say: Give us whatever ‘fact’ you like, and we will Today, in fact, we can quietly say: Give us whatever ‘fact’ you like, and we will disembowel it, make it something worth watching.”disembowel it, make it something worth watching.”

A narrative without “causality”A narrative without “causality”(from (from Some Ideas on the CinemaSome Ideas on the Cinema, 1953), 1953)

About the collaboration of a Catholic priest and About the collaboration of a Catholic priest and Communist partisans fighting Nazi occupation of Communist partisans fighting Nazi occupation of Rome shortly before the American army liberated Rome shortly before the American army liberated the city.the city.

Filmed secretly between 1943 and 1945, on a very Filmed secretly between 1943 and 1945, on a very low budget, using poor quality film stock, bought low budget, using poor quality film stock, bought on the black market in bits and pieces.on the black market in bits and pieces.

Use of real footage of German troops in the final Use of real footage of German troops in the final days of their occupation.days of their occupation.

Shortage of electrical power, which made Shortage of electrical power, which made maintaining consisting exposure a problem.maintaining consisting exposure a problem.

Self-financed, with many difficulties.Self-financed, with many difficulties.

Open City (1945)Open City (1945)

Highlight the dignity of ordinary people in the face Highlight the dignity of ordinary people in the face of great adversities, and their heroism in a daily of great adversities, and their heroism in a daily fight for freedom.fight for freedom.

HOPE that is never superficial optimism.HOPE that is never superficial optimism.

COMPASSION that is never sentimentalism.COMPASSION that is never sentimentalism.

Open CityOpen City

Rossellini’s methodRossellini’s method

““In a classical fictional film, it may be right to work with an ‘iron’ script. But in In a classical fictional film, it may be right to work with an ‘iron’ script. But in a neorealist film, which raises questions and seeks for the truth, you can’t adopt a neorealist film, which raises questions and seeks for the truth, you can’t adopt the same method. Here the inspiration plays the most important part.the same method. Here the inspiration plays the most important part.

I meditate upon the subject of my films for a long time. Then I write a script, I meditate upon the subject of my films for a long time. Then I write a script, because it would be absurd to invent everything at the last minute. But all the because it would be absurd to invent everything at the last minute. But all the scenes, the dialogue and even the setting are changed and adapted day by day.scenes, the dialogue and even the setting are changed and adapted day by day.

I hate the ‘logical link’ of the story. When I feel that what I am shooting is I hate the ‘logical link’ of the story. When I feel that what I am shooting is important for the ‘continuity’, rather than for what I really want to express, then important for the ‘continuity’, rather than for what I really want to express, then I don’t know how to deal with it. On the other hand, when a scene is really I don’t know how to deal with it. On the other hand, when a scene is really essential to my inspiration, everything becomes easy.”essential to my inspiration, everything becomes easy.”

Rossellini’s methodRossellini’s method

““It’s correct to say that in every film I make I am only really interested in one It’s correct to say that in every film I make I am only really interested in one particular scene, the ending for example, which I have already in my mind. particular scene, the ending for example, which I have already in my mind.

For the last part of For the last part of Paisà Paisà [[Paisan Paisan 1946] I had thought about those corpses that 1946] I had thought about those corpses that slowly flowed on the waters of the river Po, carrying a sign with the word slowly flowed on the waters of the river Po, carrying a sign with the word ‘Partisan’. The river has brought those corpses for months. You could see many ‘Partisan’. The river has brought those corpses for months. You could see many of them on a same day.of them on a same day.

And And Germania Anno Zero Germania Anno Zero [[Germany Year Zero Germany Year Zero 1948], to be honest, was made 1948], to be honest, was made just because of the final scene of the child who wanders alone among the ruins. I just because of the final scene of the child who wanders alone among the ruins. I didn’t care much about what was before in the film.”didn’t care much about what was before in the film.”

Paisan (1946)Paisan (1946)

In six separate episodes, the film outlines the Allied In six separate episodes, the film outlines the Allied campaign to liberate Italy from the Nazi occupation, campaign to liberate Italy from the Nazi occupation, shows the suffering of the people and draws shows the suffering of the people and draws attention to the violence of the invaders. attention to the violence of the invaders.

Each episode sketches one aspect of the complex Each episode sketches one aspect of the complex and changing American-Italian relationships, which and changing American-Italian relationships, which move from initial distrust to growing closeness.move from initial distrust to growing closeness.

Semi-documentary style: the camera and editing Semi-documentary style: the camera and editing techniques are totally unremarkable and they only techniques are totally unremarkable and they only serve to present ‘the facts’.serve to present ‘the facts’.

Of the large cast, only four members had previous Of the large cast, only four members had previous acting experience; all the others were chosen by acting experience; all the others were chosen by Rossellini as he found them on location.Rossellini as he found them on location.

Germany Year Zero Germany Year Zero (1948)(1948)

A highly dramatic and bitter portrait of Germany A highly dramatic and bitter portrait of Germany after the war, with its cities destroyed, its families after the war, with its cities destroyed, its families mourning, its young people poisoned by the Nazi mourning, its young people poisoned by the Nazi ideology and its society lost and abandoned.ideology and its society lost and abandoned.

Edmund, the young protagonist, wishes to die after Edmund, the young protagonist, wishes to die after his father’s death. Lonely, with no love from his his father’s death. Lonely, with no love from his family and his innocence threatened by an family and his innocence threatened by an indifferent world, he is at the same time the victim indifferent world, he is at the same time the victim and the symbol of a country on its knees.and the symbol of a country on its knees.

A film with an implicit message of reconciliation A film with an implicit message of reconciliation and against the absurdity of war, which uses the and against the absurdity of war, which uses the tragedy of a child as a metaphor for all that has tragedy of a child as a metaphor for all that has been sacrificed to the cult of violence, intolerance been sacrificed to the cult of violence, intolerance and hatred under Hitler’s regime.and hatred under Hitler’s regime.

OPEN CITYOPEN CITY (1945) (1945)PAISANPAISAN (1946) (1946)GERMANY YEAR ZEROGERMANY YEAR ZERO (1948) (1948)

SHOESHINESHOESHINE (1946) (1946)THE BICYCLE THIEFTHE BICYCLE THIEF (1948) (1948)

ChildhoodChildhood

Rossellini’s “Trilogy of the war”Rossellini’s “Trilogy of the war”

Themes: Themes: Lost innocence and early maturationLost innocence and early maturation Learning and understandingLearning and understanding

Children are victims of the war, either directly, or because witnesses of acts of brutality, Children are victims of the war, either directly, or because witnesses of acts of brutality, or because forced to live a hostile reality and to pay for the errors of the adults.or because forced to live a hostile reality and to pay for the errors of the adults.

Children are also the only possible way to a better future, the only hope to move toward Children are also the only possible way to a better future, the only hope to move toward a world of solidarity, social justice and peace.a world of solidarity, social justice and peace.

Andre Bazin on Andre Bazin on NeorealismNeorealism

Une esthétique de la Réalité: le néo-réalisme (1948)Une esthétique de la Réalité: le néo-réalisme (1948)

• Revolutionary adherence to the actuality of life.Revolutionary adherence to the actuality of life.

• Maintaining the ambiguity of reality through the use of long shots and the Maintaining the ambiguity of reality through the use of long shots and the avoidance of the analytical editing associated with the avoidance of the analytical editing associated with the découpage découpage of classical of classical Hollywood cinema.Hollywood cinema.

• Demonstrating how realism in cinema has a highly aesthetical connotation.Demonstrating how realism in cinema has a highly aesthetical connotation.

• Challenging the traditional notion of cinema as ‘neutral spectacle’ by making it Challenging the traditional notion of cinema as ‘neutral spectacle’ by making it utterly dependant, in style and narrative, on the historical and social context in utterly dependant, in style and narrative, on the historical and social context in which the films are made.which the films are made.

The legacy of The legacy of NeorealismNeorealism

EUROPEAN MODERN CINEMAEUROPEAN MODERN CINEMA FelliniFelliniAntonioniAntonioniBressonBresson

FRENCH FRENCH NOUVELLE VAGUENOUVELLE VAGUE TruffautTruffautGodardGodard

NEW HOLLYWOODNEW HOLLYWOOD ScorseseScorseseCassavetesCassavetesCoppolaCoppola

• No exclusive use of non-professional actors:No exclusive use of non-professional actors:

LA TERRA TREMALA TERRA TREMA (1948) (1948) OPEN CITYOPEN CITY (1945) (1945)A small town of fishermen in SicilyA small town of fishermen in Sicily Anna MagnaniAnna MagnaniCompletely spoken in Sicilian dialectCompletely spoken in Sicilian dialect Aldo FabriziAldo Fabrizi

• No exclusive use of location shootingNo exclusive use of location shooting

• Combination of ‘real life’ and ‘facts’ with melodramaCombination of ‘real life’ and ‘facts’ with melodrama

• Use of cause/effect and goal-oriented plots as in Hollywood cinemaUse of cause/effect and goal-oriented plots as in Hollywood cinema

Ambiguities of Ambiguities of NeorealismNeorealism

International PrizesInternational PrizesOPEN CITYOPEN CITY Grand Prize at the Cannes Film FestivalGrand Prize at the Cannes Film Festival

Best Foreign Language Film for the New York Film Critics CircleBest Foreign Language Film for the New York Film Critics CircleNominated for the Best Screenplay OscarNominated for the Best Screenplay Oscar

SHOESHINESHOESHINE Nominated for the Best Screenplay OscarNominated for the Best Screenplay OscarBest Foreign Language Film Oscar (Honorary Award)Best Foreign Language Film Oscar (Honorary Award)

PAISANPAISAN Best Foreign Language Film for the New York Film Critics CircleBest Foreign Language Film for the New York Film Critics CircleBest Foreign Language Film for the National Board of ReviewBest Foreign Language Film for the National Board of ReviewNominated for the Best Screenplay OscarNominated for the Best Screenplay Oscar

GERMANY YEAR ZEROGERMANY YEAR ZERO Grand Prix at Locarno Film Festival Grand Prix at Locarno Film Festival Best Screenplay at Locarno Film FestivalBest Screenplay at Locarno Film Festival

THE BICYCLE THIEFTHE BICYCLE THIEF Best Foreign Language Film OscarBest Foreign Language Film OscarNominated for the Best Screenplay OscarNominated for the Best Screenplay OscarBest Foreign Language Film at Golden GlobesBest Foreign Language Film at Golden GlobesSpecial Prize of the Jury at Locarno Film FestivalSpecial Prize of the Jury at Locarno Film FestivalBest Picture and Best Director for the National Board of ReviewBest Picture and Best Director for the National Board of ReviewBest Foreign Language Film for the New York Film Critics CircleBest Foreign Language Film for the New York Film Critics Circle

LA TERRA TREMALA TERRA TREMA Nominated for the Golden Lion at the Venice Film FestivalNominated for the Golden Lion at the Venice Film Festival

UMBERTO DUMBERTO D Nominated for the Nominated for the Best Screenplay OscarBest Screenplay OscarNominated for the Grand Prize at the Cannes Film FestivalNominated for the Grand Prize at the Cannes Film FestivalBest Foreign Language Film for the New York Film Critics CircleBest Foreign Language Film for the New York Film Critics Circle

The Bicycle Thief (1948)The Bicycle Thief (1948)

““When we read its summary, the story of many Italian films When we read its summary, the story of many Italian films can’t help but being ridiculous. can’t help but being ridiculous.

And yet in these films all the characters exist with an astonishing truth.” (Bazin)And yet in these films all the characters exist with an astonishing truth.” (Bazin)

““De Sica’s is the art which conceals art. De Sica’s is the art which conceals art. His style calls attention, not to itself, but to the subject.” (Murray)His style calls attention, not to itself, but to the subject.” (Murray)

• Location shooting (interiors and exteriors)Location shooting (interiors and exteriors)• Non-professional actors (protagonists and extras)Non-professional actors (protagonists and extras)• ‘ ‘Inconspicuous’ direction, shot compositions, camerawork, lightingInconspicuous’ direction, shot compositions, camerawork, lighting

• The need for human solidarityThe need for human solidarity• The contrast between individual and societyThe contrast between individual and society• The father / son relationshipThe father / son relationship

Depicts an Italy of poverty and desperation, Depicts an Italy of poverty and desperation, but without using an iconography and narrative directly based on the warbut without using an iconography and narrative directly based on the war

The Bicycle Thief (1948)The Bicycle Thief (1948)

Synthesis of Neorealism with the classical Hollywood film:Synthesis of Neorealism with the classical Hollywood film:

• MotivationMotivation

• Exposition + Hermeneutic SentenceExposition + Hermeneutic Sentence

• Invisible editingInvisible editing

For De Sica and Zavattini, Neorealism is above all For De Sica and Zavattini, Neorealism is above all a strongly humanist and reformist impulse.a strongly humanist and reformist impulse.

ITALIAN NEOREALISM (1945-1952)

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