Italian Neorealism: A Mirror Construction of Reality by: Ben Lawton

Italian Neorealism can be loosely defined as a trend or movement in Italian art, literature, and cinema (Lawton). This term first appeared in an essay written by Arnaldo Bocelli in 1930, but it was not until after World War Two that neorealism reached its peak. Neorealist art, literature, and cinema inherited the reality of everyday life, and the differences between social classes. Also, this movement reflected the “Italian fascination with the American dream and its glorification of the limitless potential of the individual” (Lawton 9). Most of the Italian neorealism films were created between 1945 and 1951. Also, some of the major directors are Roberto Rossellini, Vittorio DeSica, and Luchino Visconti.

Some critics say that Obsession, Four Steps in the Clouds, The Children are Watching Us, and People of the Po are the beginning of the Italian Neorealist movement. Still others say that Rossellini’s Rome Open City was the first successful neorealist film. Often neorealist films will have the protagonists be individuals of the lower class, and the films will portray a documentary style. Also, neorealist films will use non professional actors to display reality of the situation. Some Italian films that were successful include: Paisa, In the Name of the Law, Bicycle Thieves, and Bitter Rice. Others such as: The Earth Will Shake, Shoeshine, Year Zero, Miracle in Milan, and Umberto D are considered classics, but they were not as successful.

Several of the films use details to reveal the misery of the lower class people. For example, in Rome Open City the crowded apartments, family squabbles, and the scarcity of food, and water describe some of the conditions people were forced to face The Germans were shown having control of the people (Lawton 12). On the other hand, some critics believe that this film does not reflect reality because it is filtered through creative minds, and it limited by several factors (Lawton 14). Another film is Paisa, which does not reflect the lower class breaking loose from higher authority, but reflects alienation of characters. Several of the actors in this film are “pursuing their personal concern” (Lawton 16). Paisa is known as “modern art” and requires the participation of the spectator (Lawton 16). Throughout both of these films the question of identifying the truth and reality is still in jeopardy.

One of the most important neorealist films is Bicycle Thieves. De Sica, the director, did not want his films to be influence by propaganda, and he worked hard to achieve his goal. The protagonists, setting, and narrative patterns were carefully planned to make everything seem natural (Lawton 17). For instance, several doors and shutters are closed to exclude the poor people that wander in the streets. At certain times through this film the filmmaker creates images that do not reflect reality. For example, when Antonio is deciding to whether or not to steal the bicycle the background shows two statues fighting. In reality the background image would not display what is going to happen in the film (Lawton 18). Also, De Sica took great care to not mix politics and art in his films.

In order to be successful in the future Italian Neorealism films need to remain open ended, slightly threatening, and interesting. Also, these films have to continue reflecting reality.

Lawton, Ben. "Italian Neorealism: A Mirror Construction of Reality." Film Criticism 3.2 (1978): 8-23. Academic Search Complete. EBSCO. Web. 23 Feb. 2011.