Film Studies
Italian Neo-realism
The period between the years 1949 and 1952 was marked with Italian Neo-realism, right after the advent of the Second World War, which also marked a pivotal phase in the history of filmmaking in Italy particularly. This period also witnessed a notable transformation within the Italian film industry, while also instigating deliberations on realism and its portrayal in movies during the next decade or so. The ability to record real-life events happening across the world is a something that is as old as filmmaking itself. Yet, filming ‘reality’ and neo-realism together in a film evolved as a catalyst for cultural replenishment as well as social revolution, along with the high degree dedicated and desire to present the real-world incidents to the audience.
With specific relevance to the above, the film Umberto D, directed by Vittorio De Sica, in the year 1952 is of immense significance, not only in terms of its filmic quality, but also in relation to the historical context within which the film falls. When the Second World War ended, the aftermath of it had catastrophic effects on much of Europe. None were effected as badly as the ordinary citizens who found themselves in great economic distress. This film of De Sica attempts to capture the struggle of a government retiree in post war Italy. Deprivation, poverty, and loss of dignity struck many in this time. Umberto D. Ferrari shows this with his struggle to survive, giving an emphasis on Flike’s importance as this allegorical symbol of hope for Italian’s in the 1950’s.
Regarded as being one of the most landmark works of director De Sica, this film reveres every single aspect related to the Italian Neo-Realism and it is also presaged by several critics as being the ultimate expression of the Italian Neo-Realism, as stated by Andre Bazin.
Neo-realism, as a sub-genre, encompasses a wide range of qualitative expression, both thematically as well as perceptibly, as it makes use of amateur actors, shooting in specific localities and geographies, and a thematic emphasis upon the hardships experienced by the poor as well as the working class.
Identical themes in Umberto D and other of De Sica’s movies
Born as a hostile reaction to the conventional, aristocratic “white-telephone” movies that were intensely endorsed by the highly Fascist Italian government during the 1930s and 1940s, Neo-realism reverberated with the oppressed communities living in Italy during those days, eventually achieving a position for itself as one of the highly important and revered cinematic revolutions of the 20th century filmmaking.
Umberto D is actually part of a series of three films that director De Sica had made, the other two being Shoeshine and Bicycle Thieves. All these three movies that De Sica directed offer an authentic depiction of the socio-political situation of the post-war Italy, which was replicated in these films. One of the most important aspects that differentiates Umberto D from the other movies made by De Sica and also from several other films of that particular period of history is possibly the reasonably optimistic finale of the movie.
During the Second World War, Italy was the most important platform where there was high prevalence of art and history, and which also had to go through the political mayhem. The new political course and coalition between Mussolini and the Nazi idealism resulted in a massive revolutionary trend within Italy. The sovereign rule of Mussolini distorted the society because of his relentless pursuits towards altering the cultured and civilized minds and deporting the younger population into war. People were facing numerous challenges, both socially and economically, in relation to the highly erratic social change. After the war ended, the direction of film-making was sifted to becoming highly realistic.
Life and the hardships of Umberto Ferrari
Umberto Ferrari, the film’s protagonist survives on his pension in the post-war Italy. His sole companion in life was Flike, his dog and he has nobody else, neither wife nor children. He lives in the same apartment for almost a decade and because the way worsened the societal situations, cost of living goes up dramatically, which eventually impacts the rental prices too. Because of such an inflationary social situation, Umberto experiences many struggles in order to earn his living and for his survival. His life in that apartment can be claimed to be bitter sweet because, while on one hand, the land lady is extremely discourteous, ill-tempered and highly demanding; Maria, Umberto’s maid, on the other hand, is like a daughter to him, who is extremely affectionate and kind towards him.
Umberto employs a wide range of techniques for save money and to go ahead with his life. Although he is extremely ethical most of the time, he often adopts slightly eccentric and unusual ways for making money. For instance, he stages a protest against the government office in a hope that the government might increase the pensions that are offered; he gets himself hospitalized in order to save a little money for his day to day needs, he sells books and also engages himself into begging for money.
Contrary to De Sica’s earlier expeditions into Neo-realism, Umberto D is given an ending that has a unique sense of pessimism and anarchism. The aging Umberto Ferrari, the film’s central character, concludes his narration by playing with his dog, following a suicide attempt that was a failure and which is believed to have apparently given him a new lease on his life, and this is possibly the most heartbreaking scene of the entire movie. However, on further exploration, such a conclusion that the director offered the film essentially discloses itself as being a self-referential enquiry of Neo-realism.
Scene Analysis – the climax
In the ending scene (See Figure 1 in Appendix), Umberto leaves behind his beloved dog in the park with an intention to commit suicide. This scene is a rather long one and it explains that on-location shooting does not essentially translate to the fact that mise-en-scene is immaterial. The way in which the camera frames the overall location with a deep-focus, and the way in which the characters and the other extras are placed in this rather extensive shot is quite revealing. Regardless of the fact that the extras positioned in the background continuously move, eventually draws the audiences’ attention to Umberto and Flike. On the other hand, the foreground is filled with Umberto’s black suit that contrasts the background scenery. Although there is natural lighting, it correlates with the contrast in the shot. Umberto, filled with a gloomy expression and dark thoughts, is seen to be standing in the shade, while all other characters and the extras are position in the light. The wide angle offers a strong sense of the location.
Generally, the plot of the movie basically seems about the loneliness and interaction of Umberto Ferrari with the society in which he lives. The film also portrays the personal journey of the film’s central character as well as several other people, while laying emphasis on the way in which their ethics and moralities work in union with life’s reality as well as the societal situation that prevails.
Conclusion
As remarked by director De Sica, Neo-realism essentially evolved after the complete loss of both individual as well as artistic and political liberty and independence. It was basically a driver that helped in protesting against the authoritative regime that had chastened and disgraced Italy. When Italy lost the war, people ultimately were revealed about their moralities that were shattered because of the war. The teamwork of Vittorio De Sica, the director, Cesare Zavittini who offered the story and screenplay for the movie along with Carlo Battisti who essayed the role of Umberto Ferrari, beautifully depicts the impact of war and the change that it had brought about on the human nature as well as the dynamics of society and the public.
Works Cited
Anroy. "Film Analysis - Umberto D." 22 October 2010. History of Cinema. <http://anroy.qwriting.qc.cuny.edu/2010/10/22/film-analysis-umberto-d/>.
Bazin, Andre. "An Aesthetic Reality." Fowler, C. the European Cinema Reader. London : Routledge, 2002.
Bordwell, Kristin Thompson & David. Film History: An Introduction. NY: McGraw-Hill Higher Education, 2010.
Jordan. "Umberto D and the end of Neo-Realism." 05 September 2013. Copious Amount of Cope. 14 March 2016. <https://copiouscope.wordpress.com/tag/umberto-d/>.
Appendix
Figure 1
