Italian Neo-Realsim
Italian Neo-Realism was a film movement that took place from around 1943 to 1952. The neo-realist films have few main qualifications, but their main goal is to portray the Italian working class in simple, real environments. The movement was full of experimental ideas mixed with traditional techniques. The films were generally filmed on-site and using only natural light as well as very simple editing. They were very realist in nature. Another characteristic quality of the neo-realist films was the use of nonprofessional actors, although some of the films depended on more experienced actors to give a better performance. These ideals were used to give the neo-realist movement its authentic quality and capture the simplistic yet intriguing daily life of the poor working class.
The Italian Neo-Realist movement was greatly influenced by the anti-Fascism attitude after World War II. With no more censorship after the war, filmmakers were free to show the struggles of the lower class in their films. And by using the natural post-war backdrops, the filmmakers were able to use the destroyed Italian ruins as a dramatic background. Films such as Jean Renoir’s Toni, and Alessandro Blassetti's 1860 influenced the neo-realist movement, as they were the first to start to show the lives of the common working citizen. A few of the neo-realist directors, such as Luchino Visconti, had American influence from the noir films and writing.
Luchino Visconti was one the most influential directors of this movement. He had worked with Renoir previously, and took to the idea of showing the Italian working class in its natural environment. Two of his films, Ossessione and La Terra Trema, are two defining films of this period. In Ossessione, which is based on the American film The Postaman Always Rings Twice, he uses experimental long and complex shots and shows the damaged, unforgiving streets of Italy. In La Terra Trema, Visconti uses a solely nonprofessional cast in this slightly documentary styled film. He has the entire cast speak in their native language, requiring subtitles, which gives the film its authentic feel. Visconti’s works were originally censored because they did not agree with Fascist ideas, but were released after the war.
Another major director in this movement was Vittorio De Sica. Two of his most important films are Sciuscià and Ladri di biciclette. Both of these films use unprofessional actors and comment on the abuse and poor working conditions of the working class. They send of message of how the freedom of the working class is limited and how few opportunities they get. Germania anno zero by Rossellini is another important neo-realist film. It shows the struggles of a child in a post-war city. Many neo-realist films use children as main characters, which was very different from the normal Hollywood style.
Although the Italian neo-realist movement was a short one, it has had a large impact not just in film but in society too. After seeing some of these films, people realized the issues that were going on in Italy, with the mass amount of poverty and destruction. It also brought about a lot of anti-Fascism groups when people saw how the lower class was being treated. The neo-realist movement also greatly influenced the French New Wave. Although the French New Wave was more surrealist, both put the filmmaking more in the hands of the individuals, and made honest films that diverted from the typical Hollywood movie. Most films were shot on site and attempted to be lower budget. The Italian neo-realism movement was successful in altering the movie industry with its controversial and simplistic themes.
