neorealism

Viaggio in Italia – Or How an Italian Trip can be the Opposite of Romantic

I normally ignore what critics have said about the films in the 1001 movies list unless I’ve already formed my own opinion and would like to give my readers a little more context. In the case of Rossellini’s Viaggio in Italia (A Voyage to Italy), this wasn’t possible because… well, because I had little opinion, one way or another. I found it to be pretty much a blah film, without much to say either way, good or bad.

Apparently, I was perfectly right to feel that way… and also utterly wrong.

On the blah side, critics and moviegoers of the era didn’t like this one. The film was a box office flop and a critical non-darling. It’s not hard to see why: it isn’t fun, it isn’t tragic, it isn’t shocking, and it isn’t romantic. It’s neorealism without the weight of high human drama thrown in… as the stakes here are, apparently, the end of a marriage that isn’t that inspiring to begin with. And all despite Ingrid Bergman.

But then you read what the film historians say and come to understand that the film is supremely influential in the genesis of the modern drama and is now considered a great film.

While I can’t disagree with the historians about its influence, I would stop short of calling it great. In my opinion, a film should stand on its own, with any influences being a secondary consideration. If it can’t then it shouldn’t be on this list.

This one can’t. Worse, it influenced decades of other boring films, so it should be struck forthwith. One to watch only if you’re a film historian, in my opinion.

Gustavo Bondoni is a novelist and short story writer. His own forays into real life include the collection of linked short stories entitled Love and Death. Unlike Rossellini, Bondoni concentrates mainly on the important parts. You can check it out here.

Rossellini Reality

Yes… more neorealism.

Roberto Rossellini Paisà Movie Poster

But unlike Brief Encounter, Rossellini’s Paisan seems to benefit from his adoption of the neorealist aesthetic, to the point where I was about to write that, while the British film was fiction, Paisan is actually a documentary.  It’s not, of course.  It’s just as fictional as other films in the genre, it somehow feels real.

Perhaps this is just a reflection of the great Italian’s filmmaking genius, or maybe the subject matter–Italy during WWII–lends itself to neorealism unlike any other time and place in history.

That second argument certainly made itself very present in Rossellini’s earlier neorealist movie on the same subject, Rome, Open City.  But unlike Open City, Paisan does away with both politics and melodrama.  It is a film composed of a series of vignettes that are extremely sad, but never falls into the typical trap of trying to drive the point of the character’s suffering into the audience with a sledgehammer.  The situations are simply presented as they are, and the sadness often comes from the audience knowing more about the situation than the characters do.

The sparse approach to the material works perfectly, and though it doesn’t escape from the bane of realist art (namely, the sense that it just presents situations and answers no questions and offers no fulfillment), at least it isn’t maudlin realism, where you are invited to dwell upon the futility of existence and the fact that only suffering can break the monotony.

So, while this isn’t a film you’d watch to get your spirits up after a breakup, it’s still the apogee of neorealism and probably the only one you need to see to get a sense for the aesthetics and sensibilities of that particular postwar phenomenon.  It will not uplift you, but it will edify.

Ingrid Bergman and Roberto Rossellini

The nicely weird thing we can report is that Rossellini’s three realist films were the ones that inspired Ingrid Bergman to write to him offering he services.  While initially wanting to act for him, they eventually became the cover of the scandal sheets… in the fifties, two people who had a high-profile affair while married to others caused a lot of comment.

Of course, eventually, Rossellini left Ingrid for another married woman, and caused an even bigger scandal (and got himself thrown out of India)… but that’s a story for another day.

 

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