By Bert Cardullo
The time period 'neorealism' used to be first utilized by way of the critic Antonio Pietrangeli to Visconti's 'Ossessione' (1942), and the fashion got here to fruition within the mid-to-late forties in such movies of Roberto Rossellini, Luchino Visconti, and Vittorio De Sica as 'Rome, Open urban' (1945), 'Shoeshine' (1946), 'Paisan' (1947), 'Bicycle Thieves' (1948), and 'The Earth Trembles' (1948). those photographs reacted not just opposed to the banality that had lengthy been the dominant mode of Italian cinema, but additionally opposed to winning socioeconomic stipulations in Italy. With minimum assets, the neorealist filmmakers labored in genuine destinations utilizing area people in addition to specialist actors; they improvised their scripts, as desire be, on website; and, their motion pictures conveyed a robust experience of the plight of standard members oppressed by way of political conditions past their keep an eye on. therefore Italian neorealism used to be the 1st postwar cinema to free up filmmaking from the factitious confines of the studio and, by way of extension, from the Hollywood-originated studio method. yet neorealism was once the expression of a whole ethical or moral philosophy, to boot, and never easily simply one other new cinematic variety. 'After Neorealism: Italian Filmmakers and Their movies' is an try, via essays and interviews, to chronicle what occurred to neorealism after the disappearance of the forces that produced it - global conflict II, the resistance, and liberation, by means of the postwar reconstruction of a morally, politically, and economically devastated society. in truth, neorealism didn't disappear: it replaced its shape yet no longer its profoundly humanistic issues, reckoning on the filmmaker and the movie. Neorealistic stylistic and thematic rules were perpetuated not just via the 1st iteration of administrators who succeeded latter-day neorealists like Federico Fellini and Michelangelo Antonioni, but additionally by means of the second one new release of auteurs to be successful those artists. between individuals of that first new release we could count number Ermanno Olmi, together with his compassionate reviews of working-class real looking 'Il Posto' (1961), and Francesco Rosi, along with his lively assaults at the abuse of strength akin to 'Salvatore Giuliano' (1961). they're joined, between others, by way of Pier Paolo Pasolini ('Accattone', 1961), Vittorio De Seta ('Banditi a Orgosolo', 1961), Marco Bellocchio ('I pugni in tasca', 1965), and the Taviani brothers, Vittorio and Paolo ('Padre Padrone', 1977). And those filmmakers themselves were by means of Gianni Amelio ('Stolen Children', 1990), Nanni Moretti ('The Mass Is Ended', 1988), Giuseppe Tornatore ('Cinema Paradiso', 1988), and Maurizio Nichetti ('The Icicle Thief', 1989). From this various workforce, 'After Neorealism: Italian Filmmakers and Their movies' comprises interviews with, and essays approximately, Olmi, Pasolini, Amelio, and Moretti, with items to boot on such seminal figures as Visconti, Fellini, and Antonioni. additionally incorporated are an extended, contextualizing creation, filmographies of the administrators taken care of during this e-book, and bibliographies of books approximately them in addition to approximately Italian cinema often.
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Extra resources for After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews
Many people have also called the film a parody of the American director Jules Dassin’s picture Rififi, shot in France. : Yes, because we saw this as a film shot in a very harsh, realist style—very scientific, as the Peppe character continually says. So we wanted to do the same thing, but the characters didn’t have the means. The way they worked was quite the contrary actually. : Maybe the Totò character worked in a somewhat scientific way, in the scene where he demonstrates the different methods for breaking into a safe.
In my comedy, in Italian comedy, there is almost always a sad ending, or the lack of a happy ending. The ending is bad, which seems like the contrary of most comedy, where the ending is happy. : And what’s funny about the end of Big Deal on Madonna Street is that the Gassman character, Peppe, actually stumbles into work, which is even worse! : Yes, that’s true. : Was Big Deal on Madonna Street also intended as a parody of neorealism? : Yes, although by then neorealism was already a thing of the past, 38 Chapter Three something that had been superseded.
I was reflecting that, shot in black and white, The Great War is much less realistic than war films today—like Saving Private Ryan, say, where rivers of blood flow and the horrors of war are visualized in bright red. : The truth is, all directors of my age and even younger ones prefer to shoot in black and white. No real director wants to shoot in color— except for musicals and that sort of thing. They’d even prefer to shoot love stories in black and white. Today, in color, everything is emphasized; the audience likes special effects, emphatic effects.
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