By Bert Cardullo
The time period 'neorealism' used to be first utilized by means 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 motion pictures 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 images reacted not just opposed to the banality that had lengthy been the dominant mode of Italian cinema, but in addition opposed to winning socioeconomic stipulations in Italy. With minimum assets, the neorealist filmmakers labored in genuine destinations utilizing area people in addition to expert actors; they improvised their scripts, as desire be, on website; and, their motion pictures conveyed a strong experience of the plight of standard members oppressed by way of political conditions past their keep watch over. hence Italian neorealism was once 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 used to be the expression of a whole ethical or moral philosophy, besides, and never easily simply one other new cinematic type. 'After Neorealism: Italian Filmmakers and Their motion pictures' is an try, via essays and interviews, to chronicle what occurred to neorealism after the disappearance of the forces that produced it - international struggle II, the resistance, and liberation, by means of the postwar reconstruction of a morally, politically, and economically devastated society. actually, neorealism didn't disappear: it replaced its shape yet now not its profoundly humanistic matters, counting on the filmmaker and the movie. Neorealistic stylistic and thematic ideas were perpetuated not just via the 1st new release of administrators who succeeded latter-day neorealists like Federico Fellini and Michelangelo Antonioni, but in addition by way of the second one iteration of auteurs to be triumphant those artists. between participants of that first iteration we may possibly count number Ermanno Olmi, along with his compassionate reports of working-class realistic 'Il Posto' (1961), and Francesco Rosi, along with his energetic assaults at the abuse of energy resembling '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 different team, 'After Neorealism: Italian Filmmakers and Their motion pictures' comprises interviews with, and essays approximately, Olmi, Pasolini, Amelio, and Moretti, with items besides on such seminal figures as Visconti, Fellini, and Antonioni. additionally incorporated are a protracted, contextualizing advent, filmographies of the administrators handled during this booklet, and bibliographies of books approximately them in addition to approximately Italian cinema quite often.
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Extra resources for After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews
No. It is easy to work with good, quality actors, much more so than with mediocre actors. There is good communication and understanding with a quality actor. Gassman read the script, we discussed his character a bit, and he quickly understood it. We exchanged very few words about this matter. A day or two of rehearsals and we were ready. On the other hand, with mediocre actors you often have to go back to the beginning, to start over and over again. : How was it working with the great Totò, with whom you had worked with on many occasions before this film?
Can you make a film like that today? : Sure you can. I’m thinking of making a film about the war in Africa, the Second World War, the Afrika Korps, the Germans, Rommel, all that. In Libya. : Enzo Monteleone made a film called El Alamein recently. : I don’t want to glorify El Alamein or exalt war. I want to show things as they were—as usual, badly conducted and led, with no one wanting to fight, or knowing what they were fighting for. My attitude remains the same. : Will it be a comedy? : Of course.
The reason, course, is that the actor expresses himself with the body and not just the face. : In Big Deal on Madonna Street there are many medium or long shots that are tightly composed, with two, three, four, or five characters in the frame. This helps render the idea of a group. : Yes, because, in general, in my films I always look at a group of people who want to attempt an enterprise greater than their means or abilities. They begin at this enterprise and they inevitably fail. In my comedy, in Italian comedy, there is almost always a sad ending, or the lack of a happy ending.
After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews by Bert Cardullo