Word: neorealist
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Dates: during 1950-1959
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...Roof (Italian). The housing shortage may sound like a trivial subject, but in Rome it can be heartbreaking, as this excellent neorealist film demonstrates with both humor and pathos...
Aside from their esthetic merits, the four stories give heartening evidence that mutiny is in the making aboard Italy's censorship. In 1952, complaining that the neorealist school of moviemakers had formed a gloom brigade that was ruining the foreign market for Italian films, the Italian government forced its state-subsidized movie industry to lower standards and raise skirts. Nevertheless, in Gold of Naples, Director De Sica has managed to say with a smile what he could not have said with a sneer. The four stories are variations on the same theme of human bondage that De Sica develops...
...very small pot, that gives to everything Fellini does a kind of tidal vitality. Fellini sees his people straight and whole, most warmly and naturally loves them and hates them, and takes them as they are. It is one measure of Fellini's superiority to most of his neorealist colleagues in the Italian film industry that he does not trouble his head, or his audiences, with social problems as such; on the reactionary assumption (which horrifies his Communist critics) that societies are made up of people, Fellini simply makes pictures about people's problems...
Umberto D. The camera sips, more in sorrow than in anger, the dregs of old age; Vittorio De Sica writes a fine finis to the neorealist era in Italian cinema (TIME...
Divorced. By Vittorio De Sica, 53, Italian neorealist film director (The Bicycle Thief): Guida Reissone De Sica, 37; after 17 years of marriage, one daughter; in Ciudad Juarez, Mexico...