Word: rossellinis
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Dates: during 1950-1959
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...Setti-mana Incom, hit the newsstands last week, Italians took one look at its cover and rushed to buy. Although Ingrid Bergman has permitted no photographs of herself and child, Incom's cover showed a joyful Ingrid cooing to her newborn babe in a hospital room, while Roberto Rossellini, the doctor, the nurse and even the Madonna (from a painting on the wall) seemed to beam with approval. Incom's teasing caption: "The Strange Story of This Photograph...
...hospital room (see cut). For readers who might feel tricked, Incom ran the original photographs inside, along with a diagram showing how they were mated. The stunt paid off. Incom sold a record 260,000 copies, one-third more than its usual circulation. Among the purchasers: Roberto Rossellini, who, in a fine Italian fury, telephoned Incom's office to bellow that Incom's general manager, Sandro Pal-lavicini, was a bastard. Two rival picture weeklies were less bold and less convincing-Oggi, with a cover showing Ingrid and Roberto looking fondly at a baby that was obviously several...
...picture are excellent. The young boy, like a seed trying to push roots into barren soil seeks affection, companionship and even faith in his environment. But because Berlin is so desolate and its people reduced to such hopelessness, the boy finds no answer but death. Producer and director, Roberto Rossellini's photography captures perfectly the demolished physical atmosphere of war-term Berlin, while the plot progression skillfully works out the emotional sterility of most of the characters...
...already poisoned his father so that there will be more food for the rest of the family; thus the climax can come at either one of the two deaths. As for the acting, the German east seems to lack a familiarity with the warm, off-hand touches of Rossellini's style. The most important thing about "Germany Year Zero" is its implication that selectivity is at work, that the only survivors of such desolation will be another strong and heartless race. You can't help fearing such a race--a nation of men who had no childhood...
Vitterie De Siea has grown in distinction as a director of Italian films until he now ranks with pre Stromboli Rossellini. De Siea's "The Bicycle Thief" comes to Boston after being honored as the best foreign film of 1949 by the New York critics, and receiving several other American and European awards. "The Bicycle Thief" is an excellent, occasionally brilliant document of the plight of "the little man." In all the noise about "the world's most acclaimed motion picture," however, one is apt to forget that it has short comings, like most other films...