Vittorio De Sica
Vittorio De Sica
The Children Are Watching Us (1943)
RANKED:
5. Umberto D (1952)
Although many Italians, especially the Italian state, felt that Vittorio De Sica's 1952 film "Umberto D." did not align with the self-installing pride that many Italians were attempting to ignite, the film's international success was enormous. Sliding right into De Sica's signature style, "Umberto D." shows the economic troubles of an elderly man and his inability to make any meaningful connections that could save his life or the life of his dog. It is a downright depressing affair showing little to no hope for the economically downtrodden in Italy's urban metropolis. As difficult as it was for Italians in the post-war era, the continued stark realism of its neo-realist cinema was a stark reminder of the realities that many people at the time were facing.
4. The Children Are Watching Us (1943)
Before the collapse of the Italian fascist government threw Italy in a state of economic turmoil, the 'Italian Neo-Realist' movement had not yet taken shape. Vittorio De Sica, who would later be come to be known as one of the most prominent filmmaker in Italian neo-realist cinema, was making films under the umbrella of the powerful government. One of these films, "The Children Are Watching Us" was a warning to the Italian citizens to stay on their best behavior. However, in the hands of De Sica, it turned into something far more emotional and complex. Told through the perspective of a young child, the film follows the collapse of a middle class family after the mother abandons them. The trauma the child experiences, along with the complete disregard from all the adults around him, make for a depressing watch. The film's melodramatic nature fits well through the child's eyes, as the viewer must watch the fallout. The fallout, however, is largely due to the complete selfish behavior of the adults involved. The film was far from the aesthetic of the neo-realist movement, but it did mark the first time Vittorio De Sica created the themes he would come to be known for years later.
3. Miracle in Milan (1951)
Taking the typical neo-realist style that he helped establish in Italy, Vittorio De Sica decided go a bit more experimental with his 1951 film "Miracle in Milan." Along with the realism that details the harsh realities of the impoverished communities of Italy, De Sica injects a magical realist element to the film that allows for a surrealist flourish and provides a respite to tragedy for his characters. Perhaps these magical elements turning a typically tragic scenario into an inexplicable happy ending make the film and its story seem that much more tragic, as the viewer is fully aware of the distinction between fantasy and reality and knows full well of the lack of fantasy in their own reality. Either way, the film screen is the only place where such a euphoric ending could magically arise for this community of people.
2. Shoeshine (1946)
Often considered Vittorio De Sica's first 'masterpiece,' "Shoeshine" is another entry in the early wave of Italian neo-realist cinema. The film revolves around two young shoeshine boys who get arrested after incidentally becoming involved with one of their criminal brothers. After being placed in a juvenile penitentiary, their relationship becomes strained to the point of tragedy. The film both critiques the levels of mistreatment of a modern Italian youth as well as being analogous for the fascist Mussolini government. It's a bleak film full of betrayal, violence, and tragedy. Our two protagonists enter a world of pain and suffering that they never escape from. It is a harrowing film to watch, but it manages to convey so much about Italian society through the troubled lives of these two children. Perhaps in the hands of a lesser director, the film wouldn't be as masterfully constructed as it is. However, De Sica has evaporated the film screen and provided an unflinching view of life and reality to the viewing audience.
1. Bicycle Thieves (1948)
When one speaks about the Italian neo-realist movement, there are so many filmmakers and films you could discuss. However, there is truly one film that stands above the rest and is the zenith and pinnacle of the movement, Vittorio De Sica's 1948 masterpiece "Bicycle Thieves." Using real locations and non-professional actors, De Sica documents the daily life of people living in post-war Italy. The film centers on a man who, in order to provide for his family, must secure a bicycle for his new job. However, after the bike gets stolen, him and his young song traverse the city of Rome, looking desperately for it. Along the way, we come along their odyssey and uncover the destitute and dystopian circumstances of a post-war landscape, full of thieves, con artists, and swindlers all trying to drain people of their money. However, as we come to find in the film, this is not done for the sake of simple malice. Rather, it is out of necessity in this new economically depleted world. In the end, our protagonist realizes he has to morally corrupt himself just like them. There is not one bicycle thief, but a world of bicycle thieves.
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