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Neorealism

A vibrant community celebrating the prominent achievements of Italian cinema — from Neorealism to the present.

12 posts in Neorealism

Still from Il Tetto – The Roof (Vittorio De Sica – 1956)

Il Tetto – The Roof (Vittorio De Sica – 1956)

Five years after his masterpiece, Miracolo a Milano – Miracle in Milan (1951), director Vittorio De Sica with screenwriter Cesare Zavattini, return to a familiar neorealist theme – social troubles of a young couple, played by unprofessional actors, facing a housing problem during Italy’s economic boom.

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Still from Bicycle Thieves – Ladri di biciclette (Vittorio De Sica – 1948)

Bicycle Thieves – Ladri di biciclette (Vittorio De Sica – 1948)

Stories about the common man emphasizing social issues, scenes shot in actual locations, and the use of non-professional actors – are the key ingredients of the Neorealist film movement in postwar Italy, which this film is one of its prominent expressions.

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Still from Il cammino della speranza – The Path of Hope (Pietro Germi – 1950)

Il cammino della speranza – The Path of Hope (Pietro Germi – 1950)

Right from the opening scene where you see the village women all veiled in black waiting patiently outside the mine for their husbands who refuse to come up to avoid the mine closing – you see direct similarities with another Neorealism harbinger – Visconti’s 1948 La terra trema (The Earth Trembles). Both films offer a great view into the Italian neorealism genre marked by social and economic hardships, use of non-professional actors and scenes shot on location vs. the studio.

Still from Italian Cinema Audiences – Real Stories by Real People

Italian Cinema Audiences – Real Stories by Real People

In this post, I am not going to discuss a particular film but share with you a very special project I came across the other day.

Still from Shoeshine – Sciuscià (Vittorio De Sica – 1946)

Shoeshine – Sciuscià (Vittorio De Sica – 1946)

Ever wondered what started the Oscar for Best Foregin Language Film category? It was Shoeshine, Vittorio De Sica's fifth film that initially received a Special Academy Award in 1948 and two years later for his masterpiece The Bicycle Thief.

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Still from Rome, Free City – Roma città libera (Marcello Pagliero – 1946)
Still from Umberto D. (Vittorio De Sica – 1952)

Umberto D. (Vittorio De Sica – 1952)

In one of the greatest accomplishments of the Neorealist film movement, Vittorio De Sica dedicates this film to his father and effectively captures the grim life of the elderly in post-war Italy.

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Still from The Engaged – I Fidanzati (1963)

The Engaged – I Fidanzati (1963)

Do your memories carry a soundtrack?

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Still from Miracle in Milan – Miracolo a Milano (Vittorio De Sica – 1951)

Miracle in Milan – Miracolo a Milano (Vittorio De Sica – 1951)

Take a close look at the this picture. What do you think is happening?

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Still from Mamma Roma (Pier Paolo Pasolini – 1962)

Mamma Roma (Pier Paolo Pasolini – 1962)

Individualism vs. determinism is it truly up to the individual to change his destiny or is it all predetermined?

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Still from Domenica d’agosto – Sunday in August (Luciano Emmer – 1949)

Domenica d’agosto – Sunday in August (Luciano Emmer – 1949)

It's August in Rome and it seems like the whole town has a single mission – go to the beach! You can watch this charming, time-capsule of a movie below (76 minutes, no English subtitles, though).

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Still from The Job – Il Posto (Ermanno Olmi – 1961)

The Job – Il Posto (Ermanno Olmi – 1961)

Do you remember your first job interview and your mom protectively cautioning you, don’t mess up this could be a great opportunity, practically work for life? Or an important exam you took at school and the following stress afterwards when your friends commenting - that was easy (no it wasn't!), prodding you the correct answer was 24, right?

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