CIN 2190: Reading #5 Feb 28th 2013
Exploring the Boundaries of NeoRealism:
At the same time, by capturing the spirit of postwar Italia| culture, these films established Italian neorealism
as a vital force in Italy and abroad.
Like the films of Rossellini, De Sica, or Visconti, many of them examine a number of pressing problems
within Italian society—the effects of the war, poyerty, labor unrest, migration from Sicily, the Maria, the
heavy burden of Italian history—but some lack the artistic concentration typical 6|such classic works and
may include a mixture of styles or film genres.Others drift away from a cinema of realism, actual or
apparent, towardsa more traditional commercial cinema, the very kind of cinema neorealist theoreticians
such as Zavattini sought to avoid at all costs.
Michelangelo Antonioni served as a scriptwriter with a number ffrieorealise directors—with Rossellini on A
Pilot Returns (1942),met with Giuseppe De Santis on Tragic Pursuit (Caccia tragica, 1947)
Between 1947 and 1950, Antonioni produced five $948), a brief, elevenminute treatment of Roman
spazzini or streeteaners, is perhaps his finest early documentary film. Judging from inimediate origins in the
neorealist interest in capturing current events $|cl exploring the drama in the lives of ordinary people. Luigi
Zampa’s popular film, To Live in Peace (Vivere in pace, 1946), Award for the Best Foreign Feature of 1947,
the film chronicles the tranquil life of a remote Italian mountain village and how the desire two escaped
American prisoners of war: Ronald, a journalist (who two escaped American prisoners of war: Ronald, a
journalist (who hopes eventually to write a “true” account of events which take place in the town); and a
black GI named, predictably enough, Joe.
Except for its wartime theme and its location shooting, To Live in Peace is closer in style to a traditional
comedy man to any ol the masterpieces of neorealism; Zampa turns the same thematic material Rossellini
had treated in a tragicomic manner in Rome, Open City and Paisan into a burlesque farce.
A number of the film’s most important sequences point toward this traditional gangster film, a genre not
usually associated with neo realism: theses include several gun battles car chases with cars careening
around city corners, pistols blazing; a melodramatic prison
Without Pity reflects a typically neorealist message of human brothphood which, in this particular film,
transcends not only national but also racial boundaries.
Giuseppe De Santis was closely associated with Antonioni and Visgpnti on Cinema and had previously
worked with Visconti on Obsession and on Serandrei’s Days of Glory, the Resistance documentary.
First major work was Tragic Pursuit (Caccia tragica, 1947), a film produced by the ANPI, an Italian Partisan
organization of leftist leanings. The dichotomy between men and women who work together for the betterment of their class, on the one
hand, and those outlaws from society who exploit the poverty of others, on the other, is contined i