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Movie buffs who want to learn more about Europe’s neorealist cinema should head to this list of some of the best must-see films in the genre. Neorealist cinema began in Italy at the end of World War II. The filmmakers were traumatized by their experiences during the war and needed to heal. Many neorealist films released in the decade after the war focused on the war or the immediate effects of the war. In the 1950s, consumerism spread from the United States to Europe. At the same time, the continent continued to struggle under poverty and the devastation of war.
Europe was disillusioned, torn by war, but promised the false hope of capitalism and consumerism. This disappointment created an artistic atmosphere ripe for the harsh realities of life. The glitz, pretentiousness and technical perfectionism of Hollywood were pushed back by the sordid truth of the post-war decades. As part of our weekly feature on world cinema, we take a look at essential films from the Italian neorealist movement to examine the artistic sensibilities behind one of the most influential movements in cinema history.
Here is the list of the best inspirational films of Italian neorealism
Ossession
With 1942’s Ossessione, generally regarded as the first Italian neo-realist film, director Luchino Visconti drew heavily on his experiences working with Jean Renoir in the 1930s to create a dark, earthy tale of adultery and murder. Along with leftist intellectuals Mario Alicata, Gianni Puccini and Giuseppe De Santis, Visconti adapted James M. Cain’s 1934 novel The Postman Always Rings Twice and set it in the plains of the Po Delta. The film tells the story of a drifter, Gino, who arrives at a roadside trattoria owned by Bragana and quickly sets his sights on the latter’s wife, Giovanna.
The lovers hatch a plan to assassinate Bragana, but events spiral out of control. “In terms of content and style, the film surprised many,” Visconti said in a 1969 interview. “At the time no one could address those issues, even if they wanted to.” Visconti goes on to point out that the term “neorealism” was first used by editor Mario Serandrei after seeing the first few meters of the Ossessione material.
Miracle in Milan
This neo-realist style tale tells the story of a boy who was found in a cabbage patch by an old woman. After the woman dies and the boy becomes a man, he is given a magic dove to fulfill the wishes of the poor he lives with. The main character Toto becomes a Jesus-like figure for the slums of Milan. However, his powers were removed by the angels; however, the dove refuses to leave Toto because it saw the unfairness of the land and Toto’s sincere demand for justice.
Miracle in Milan is an internationally acclaimed film that won the Grand Prix at the Cannes Film Festival in 1951. It is writer-director De Sicca’s quest with co-writer Zavattini to combine children’s stories with the realities of the early 1950s. in Italy. The film was so successful that it was screened in the United States and the United Kingdom; and won several awards, including the BAFTAs.
bicycle thieves
In poverty-stricken post-war Rome, a man is on his first day of a new job offering hope of salvation for his desperate family when his bicycle, which he needs for work, is stolen. With his young son in tow, he sets off to track down the thief.
Simple in construction and deeply rich in human insight, Bicycle Thieves embodies the greatest strengths of the Italian neorealist movement: emotional clarity, social rectitude, and brutal honesty.
the road
Throughout his career, Fellini did his best to break with the traditions of Italian neorealism and build his own brand of dream cinema. However, La Strada is an important film for the history of the movement because it is one of the first examples of Fellini’s ability to create a new kind of realism out of the orthodox framework.
“In the beginning we just had a confused feeling, a kind of lurking tone that made me melancholy and gave me a vague feeling of guilt, like a shadow that hung over me. This feeling suggested to two people to stay together, although it will be fatal and they do not know why. But once this feeling crystallized, the story came easily, as if it had been there waiting to be found.”
The Terra Trema
La terra Trema was originally planned as a documentary about the life of Sicilian fishermen and this was the kind of film that the director’s small company, which included assistant directors Francesco Rossi and Franco Zeffirelli, hoped to make when they met at the coastal city. However, Visconti had developed more ambitious plans.
La terra Trema tells of a family of fishermen, the Valastros, and their attempts to escape poverty and exploitation. Although the film had moved into the realm of fiction, Visconti retained many documentary elements, including the fact that his entirely unprofessional cast spoke in their own dialect.
sour rice
A great play on Italian words and a great film from the underrated director of Neorealism. Giuseppe de Santi’s feature debut, Riso Amaro, is based on a double meaning, riso means both rice and laughter. Telling the story of rice planters in the northern part of Italy in the background, this film follows two robbers trying to escape from the police, one of whom is played by the young and great Vittorio Gasman, set in the Italy of the postwar period. Santi’s camera deftly follows the pastoral and newly industrialized life of northern Italy.
De Santi’s, in this beautiful image, represents two thieves, a man and a woman, and their shattered “professional” life and the decisions they must make when they meet a woman who, like most of them, is poor.
Rome Citta Aperta
Roma Citta Aperta was one of the first films produced outside of Cinecittà after the war. Director Roberto Rossellini consulted his close friend Federico Fellini and Sergio Amidei for help with the script. The film ran into production problems while filming just a few months after Italy was declared free from Nazi occupation.
Roma Citta Aperta was Rossellini’s first anti-fascist film. It was also Fellini’s first foray into neorealist cinema and today it is recognized as one of the most important films in Italian cinema.
the battle of algiers
An Italian-Algerian co-production, Pontecorvo’s classic depicts the events of the Algerian War and presents the bravery of the rebels who fought for decolonization. The film was banned in France for several years, but fortunately it has stood the test of time as one of the best documents of the colonial struggle in Algeria.
“The Italian producer with whom I raised this problem told me that he would make any film he wanted, but that project was impossible. It meant ‘making a movie without any meaning, in black and white, without actors and without a story’. He said that ‘Italians don’t care about blacks,’” Pontecorvo recalled.
Umberto D.
Umberto D. may well be the film with which the neorealist theorist and screenwriter Cesare Zavattini came closest to fulfilling his ambition to make a film about a character with nothing wrong. While De Sica-Zavattini’s earlier films, such as Shoe Shine (1946) and Bicycle Thieves (1948) had focused on child characters, Umberto D.’s protagonist is an elderly former civil servant living on a meager pension in a Roman pension. . alone with his companion dog. Umberto is played by Carlo Battisti, who in real life was a professor of linguistics at the University of Florence.
love
Loosely based on Giovanni Verga’s novel Malavoglia, the film centers on a small fishing village on the Sicilian coast. It explores the lives of working-class denizens, including a love-stricken woman who talks to her ex-lover on her phone and a pregnant woman who believes she is pregnant with Saint Joseph.
L’amore is, unsurprisingly, in the Sicilian language, and is a key example of how neo-realist productions used non-professional actors to great effect. The film was awarded the International Prize at the 9th Venice International Film Festival.
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