Italian Director Vittorio De Sica Essay, Research Paper
The Italian director Vittorio De Sica (1902-1974) and screenwriter Cesare Zavattini are one of the most influential teams in neorealist cinema. Together, they made four neorealist films. This paper will discuss three of those films: Shoe-Shine (1946), The Bicycle Thief (1948) and Umberto D. (1952). Each of these films were shot in Rome, the capital and center of the Italian government. The narrative of these films each reflect different aspects of a failing post-war Italian society; the overcrowded juvenile prison system during the American occupation of Italy (Shoe-Shine), the severe unemployment of post-W.W.II Italy (The Bicycle Thief), and the failures of social programs to provide for the retired white collar professionals and former middle class (Umberto D.). All of these films expose the viewer to the institutional insensitivity of the times and serve as a general portrait of post-war Italian disadvantaged class, which were the majority of the people.
In a further analysis of neorealism, it is important to note that the general public, most of the inhabitants of the Italian peninsula, were victimized by a continually failing Italian “system.” The struggle for these masses of Italian people was amplified by a shortage of employment and lack of social services. Those who were not adversely affected were people who either possessed exceptional political or financial power. Both of these powers are deeply imbedded into the fabric of Italian history. Many families which had retained their land and power since feudal times (Aristocratic) continued to influence the government structure and the exploitation of the masses. These are evolutionary pangs which affect the masses, at one time under the auspices of a landlord are now under a inexperienced government structure, perhaps less experienced than Tito Livius’ republic.
It is also important to note that the Italian populace has always been in search of an identity. This identity is not only expressed through nationalistic sentiments and a unified Italy but also through the ownership of real-estate. The lack of faith of Italians in a just and sensitive government was responsible for a ever increasing displacement of Italians. In search of dignity and opportunity, emigration, rather than political activism, has been the most practical and desperate solution.
The political unity of Italy was lost with the fall of the Roman Empire, more than 1500 years ago. Since then, regional borders have changed constantly until the final unification under the Monarchy of Vittorio Emanuele II (1860). The traditional differences between Italian regions were, and still are today, a major distraction in the accomplishment of a truly unified Italy. one unified for the good of all, rather than for the benefit of a small minority of aristocratic and wealthy Italians.
Between 1880 and 1920, more than 4 million Italians emigrated to America, the largest wave of immigrants from any particular country during a forty-year period (American-Italian Heritage Association Professor Philip J. DiNovo). These figures do not include emigration to Canada, South America or the rest of the western hemisphere. In just about every country, even the most remote, an Italian, or someone of Italian origins, lives. One would think that with such a displacement of people from Italy, it would make the situation for the rest of the Italians more prosperous. However, overpopulation it is not the issue. The issues are more complex and include a wide variety of sentiments. Regional and ethnic separatism is growing around the world. In Italy, the separatism of the extreme right and the disenfranchised proletarian left were fertile grounds for the rise of institutionalized insensitivity (Fascism), where an attitude of “blame the victim” flourished. It was perhaps the cultural shock that accompanied both world wars and the totalitarian fascist government which sparked the neorealist movement into existence towards the end of WW II.
The shock that a population largely responsible for the cultural revival of the west (Renaissance), was now one of the most oppressed in the west, stimulated the works of Rosellini, De Sica and Zavattini. Their neorealist films show a coping methodology used by the Italians, which is expressed in symbolism. In the Bicycle Thief, a mere bicycle represents not only faith in a possible recovery in post-war traumatized Italy, but also a way of coping with having the ability of providing a meager survival for the family. In Shoe-Shine, the horse (Bersagliere), represents freedom and strength (the Bersaglieri are one of the most honored and respected branches of the Italian army). The horse is an escape from the humiliating experience of providing menial services to mostly American Servicemen, a way of coping with lack of decent living conditions and a lack of a proper childhood. In Umberto D., Maria and the dog Flaig, represent the possibility that the situation will improve, and stimulate Umberto in coping with the devaluation of his many years of service as an Italian government employee and an insensitive landlord.
In Shoe-Shine, a horse can bring the two boys happiness and a sense of self-worth. Their sense of freedom and hope are taken away from them by an amoral judicial and prison system. Here, neorealism cannot help, but can only place in evidence, the irrationalities of such a system. Children as products of a society are punished rather than helped. Rather than searching for the perpetrators who actually committed grand-theft, the police punish Giuseppe Filippucci and Pasquale Maggi, who merely sold two (probably stolen) American blankets. For this, their admirable entrepreneurial efforts of being shoe-shine boys are halted. This portrays the punishment of an underage generation of children who must try to survive in an incredibly hostile environment. Human optimism here is shown by the attitudes and concerns of the prison assistant, Bartoli, who ultimately decides to resign after the unwarranted death of Dido, the Neapolitan boy in jail for vagrancy.
The prison assistant, Bartoli, represents the redeeming qualities of the Italian people, willing to risk a future and his job. The prison director points out to Baroli that he will not advance in his position if he is too compassionate. The director reminds the viewer of Fascist ideology, as he and the cook raise their right hand to perform a Fascist salute. Corruption is pervasive throughout the entire prison system and if indeed the prison guards were considered “teachers”, as they were called, very little hope for rehabilitation can be hoped for the youths, for the whole system is in need of it. The message of De Sica’s neorealist expressionism is the same; he wishes to shed light on the problems and create the highest emotional state for the audience, in order that the Italian collective conscience would do the rest. It is due to this effective method that the Italian government did what it could to put a stop to neorealism.
Children represent the potentiality of a future society and the utmost respect should be placed on them and their needs. The American government managed to invest funds in influencing the outcome of Italian elections and in controlling the influences of the Communist party, but were desensitized by the state to which the children lived in. This is shown in the beginning scenes of the film, where an American soldier tells Matteo a shoe-shiner, that he will pay tomorrow for the services rendered.
The issues of illiteracy are also addressed in the film. Only one boy is seen reading; he is presented as the only character wearing spectacles. The others call him “Professore” and ridicule him in an effort to justify their own illiteracy. Scenes like this are especially important in defining the problems that these children are having. They are in need of an education, not imprisonment.
The very tragic ending of this film is effective in raising the awareness of the audience to examine the chain of events and to think of what would have prevented such tragedy. When Giuseppe manages to escape, Pasquale decides to help the prison guards in his capture. Pasquale manages to catch up with Giuseppe at a bridge and, in an attempt to physically punish him, Giuseppe falls from the bridge and dies. In the final scene, we see Bersagliere slowly galloping off the camera shot, free of any guilt and remorse, symbolizing the only truly free creature in the entire film. Ultimately, the only true freedom is preserved by the horse itself, because it is bound by its survival instincts and is not penalized by it. Conversely, the institution and the institutionalized both fall victims to faulty ideals and a failed government structure.
In The Bicycle Thief, Antonio’s new job can bring his family new hopes and happiness, but this optimism is destroyed when his bicycle is stolen. The banal circumstances are brought to life when it is realized that a modest bicycle is such an important element in determining the future survival of the Ricci family. Human optimism is there, beginning with Antonio’s excitement when he gets his bike from the pawn shop, and the next morning when the family joyfully interacts before setting out for work. These scenes contain the promises that a modest job can bring and the dignity and pride of being able to once more function within Italian society. The embodiment of this self-respect is shown when Antonio and his son Bruno both smile at Maria as they leave home.
Self-respect and all the related values such as pride, dignity, modesty and honor are very important in Italian society. Witness Bruno, whom at a young age, works full time at a gas station. Bruno’s contributions to the Ricci family make him a “man” and strip him of his innocence. Being able to work is an optimistic endeavor which Bruno wholeheartedly engages in.
The tragedy is not Antonio’s previous two years of unemployment; it is that he has no future in his new job, due to the theft of his bike. Antonio must face this tragedy with no public support other than his friend Baiocco. Baiocco’s willingness to help with his friends and his optimistic response to Maria constitute another case of human optimism. This form of optimism pervades the film with Antonio’s perseverance and determination to find the stolen bike. These events stimulate the viewer’s mind to think of solutions related to Antonio’s situation, perhaps to try to solve problems of post-war Italy such as crime, famine, health issues, living condition, etc.; ills that have affected society then and now around the globe.
Antonio’s frustration of missing the thief for a second time fuels the hopelessness in continuing his search. He attempts to forget his predicament by treating himself and his son to a meal and a liter of wine. The restaurant scene reflects the Italian Sunday tradition, as the more affluent families went out to treat themselves to a restaurant and enjoyed the Sabbath. Here we see the contrast, between Antonio and Bruno and the rest of the restaurant clientele. This signifies the last meal before a bleak Monday, where once again Antonio will find himself without a bike and without a job. Still, optimism is present as they discuss the potential income his work can bring.
Antonio’s hopes are exhausted. Pushed by desperation and a bit of wine, he attempts to steal a bike. This foolish act places Antonio in an even more humiliating situation, as he is caught in the act and placed under citizen arrest. This scene is another display of human optimism, when the owner of the bike, seeing little Bruno’s sad expression, forgives Antonio and allows him to go free.
The ultimate message of human optimism is Bruno. He is striking, but not in his dialogue as much in his facial expressions. Bruno’s love for his family and his acceptance of his father after witnessing the attempted robbery are exemplary. The character of Bruno played a critical role in this film, signifying the purity of love and understanding in times of trial. The final scene shows Antonio and Bruno in immense emotional pain, walking amongst an indifferent stadium crowd. But the scene, although certainly an unhappy one, also portrays optimism, which appears in Bruno’s acceptance and support for his father: Bruno walks beside his father holding his hand, as his father cries tears of grief.
In Umberto D., the driving force is similar to its forerunners. Although it symbolizes the gradual end of neorealism, Umberto D. brings into focus the failure to implement social changes, as evidenced by Shoe-Shine and The Bicycle Thief. The continual numbness of the Italian government translates into different problems year after year. Even if the extreme inefficiency of the penal system were to be fixed, other problems would arise; for every hole plugged, two more would come unplugged. These were and are symptoms of a government unwilling to change its basic infrustructure. Unwilling to look at its wounds, the goverment halted the futute of neorealism with the Andreotti Law of 1949.
Umberto D. opens with scenes from a crowd of elderly men marching towards city hall to protest for a raise in their meager pensions. The men recount their loyalty to the government, and are incredulous that they are now expected to survive on a pension which requires them to be dependence on hands outs to survive. Once again, the insensitivity of the institution surfaces when four police jeeps, filled with policemen, appear at the city hall piazza to disperse the crowd of men. The men’s spontaneity and passion, needed to voice their opinion in public, is further destroyed when they are told they need a permit for a demonstration. The requirement of the permit and dispersal of the crowd pushes the importance of the issue from the public eye, and discourages the elderly victims.
The protagonist, Umberto Domenico Ferrari, is retired from the Ministry of Public Affairs after working there for 30 years. Due to government mismanagement, educated government employees such as Umberto, once part of the bourgeois, are now destitute. The collapse of the former middle class is especially evident in the scenes where Umberto sells his pocket watch to a destitute pan-handler and, when feverish from the flu, he checks himself in the Sanitarium to save money, which will ultimately pay the rent.
The next scenes are a turning point in Umberto’s life. As Umberto stands in his torn apart room, which represents his life, he decides to commit suicide to escape the embarrassment and loss of dignity of sleeping in a public dormitory and begging for help. We have been carefully led through Umberto’s life to have an understanding of Umberto’s conclusion to commit suicide. As in The Bicycle Thief, and now in Umberto D. as well, we see that the solidarity and comraderie which existed during the war is now spent. There is a disinterest in the human condition of others, which is portrayed through by the insensitivity of friends and acquaintances to Umberto’s plight. The contrast between Umberto trying to make ends meet in a socially acceptable manner is juxtaposed by the scenes of the pan-handler, who has success making money because he instills guilt in others by loudly voicing his problems.
While it ends less tragically than Shoe-Shine and The Bicycle Thief, Umberto D. contains a similar metaphor to Shoe-Shine, represented by Umberto’s dog Flaig. Flaig’s willingness to live makes Umberto renounce his suicidal plans. Here again, the director identifies with the God-given freedom of all animals, and illustrates the ability humans have to deprive themselves and others of this freedom. Animals remain free because they are innocent of the social constraints which humans place on themselves and on others.
Aside from the sociopolitical statements that these films represent, their most striking contribution is their use of non-professional actors. This facet of film-making is diametrically opposed to today’s glitzy Hollywood productions, which use slick professional actors as their staple feature. But while the neorealist films may lack the professional apparatus and special effects of current production, they certainly contain the greatest emotional impact of any film genre. The non-professionals possess a true feeling for their characters, and appear as though they were truly living every moment of the story. This has the effect of generating very strong emotions in the viewer regarding the characters and their plights. A sense of sincerity and authenticity, seldom present in modern cinema, can be attributed to De Sica’s marvelous ability to coach people who had no previous acting experience.