By Peter Bondanella
The flicks of Roberto Rossellini strains the profession of 1 of the main influential Italian filmmakers via shut research of the seven motion pictures that mark very important turning issues in his evolution: the fellow with a go (1943), Open urban (1945), Paisan (1946), The desktop to Kill undesirable humans (1948-52), Voyage in Italy (1953), common della Rovere(1959), and the increase to strength of Louis XIV (1966). starting with Rossellini's paintings in the fascist cinema, it discusses his invention of neorealism, a brand new cinematic type that ended in numerous classics through the speedy postwar interval. presently, despite the fact that, Rossellini's constantly evolving variety moved past mere social realism to bare different elements of the camera's gaze, as is clear within the motion pictures he made with Ingrid Bergman through the Nineteen Fifties; even though unpopular, those works had a major impression at the French New Wave critics and administrators. Rossellini's past due occupation marks a go back to his nonrealist interval, now severely reexamined, in such works because the commercially winning normal della Rovere, and his eventual flip to the production of didactic movies for tv.
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Additional resources for The Films of Roberto Rossellini (Cambridge Film Classics)
In it, there is no documentary footage at all - the battle scenes are re-created by the director near Ladispoli outside Rome, where he constructed an entire Russian village and staged a firefight worthy of the best Hollywood war scenes. But the battle scenes, unlike those in La nave bianca, are precisely that - scenes of combat that we consider "realistic" insofar as they follow traditional Hollywood prescriptions for war films. Although the battle sequences are brilliantly contrived examples of Hollywood "realism" rather than authentic footage of an actual battle (such as occurs in La nave bianca), to some extent Rossellini Convincing re-creations of combat scenes on the steppes of Russia filmed in the Roman countryside by Rossellini for L'uomo dalla croce.
Moreover, Rossellini's legendary quickness in shooting a film now became one of his greatest virtues as a director for television. In almost no time at all, Rossellini could complete a series of episodes in a television program, assisted by his technique of long takes and his frequent use of the zoom to limit the amount of editing necessary. His acknowledged masterpiece for television, La prise de pouvoir par Louis XIV (The Rise to Power of Louis XIV, 1966; see Chapter 8), was completed in only twenty-four days in August 1966 and was presented almost immediately to the Venice Film Festival in September 26 of the same year, winning Rossellini both critical and popular praise and confirming him in the choice of his artistic direction for the rest of his career.
Rossellini's subsequent work Viaggio in Italia (Voyage in Italy, 1953) was greeted with unanimous negative attacks in Italy and was a commercial flop, whereas the young critics associated with Cahiers du Cinema in France praised it so extravagantly that they ranked it as one of the greatest films of all time. Although no film can ever live up to that kind of exaggerated praise, Viaggio in Italia is nevertheless universally recognized today as the most innovative film of the Bergman period. As it will be examined in detail in Chapter 6, it suffices here to note that this work embodies Rossellini's distaste for and avoidance of traditional cinematic spectacle in favor of what some critics have called "a neorealism of the person" in its focus upon psychological states of mind, marital conflict, and the link of characters to their environment (again, a theme to be exploited with greater popular success by Michelangelo Antonioni in the next decade).
The Films of Roberto Rossellini (Cambridge Film Classics) by Peter Bondanella