The movement known as neorealism lasted seven years, generated only
twenty-one films, failed at the box office, and fell short of its
didactic and aesthetic aspirations. Yet it exerted such a profound
influence on Italian cinema that all the best postwar directors had
to come to terms with it, whether in seeming imitation (the early
Olmi), in commercial exploitation (the middle Comencini) or in
ostensible rejection (the recent Tavianis). Despite the reactionary
pressures of the marketplace and the highly personalized visions of
Fellini, Antonioni. And Visconti, Italian cinema has maintained its
moral commitment to use the medium in socially responsible ways--if
not to change the world, as the first neorealists hoped, then at
least to move filmgoers to face the pressing economic, political,
and human problems in their midst. From Rossellini's Open City
(1945) to the Taviani brothers' Night of the Shooting Stars (1982).
The author does close readings of seventeen films that tell the
story of neorealism's evolving influence on Italian postwar
cinematic expression. Other films discussed are De Sica's Bicycle
Thief and Umberto D. De Santis's Bitter Rice, Comencini's Bread,
Love, and Fantasy, Fellini's La strada, Visconti's Senso,
Antonioni's Red Desert, Olmi's Il Posto, Germi's Seduced and
Abandoned, Pasolini's Teorema, Petri's Investigation of a Citizen
above Suspicion, Bertolucci's The Conformist, Rosi's Christ Stopped
at Eboli, and Wertmuller's Love and Anarchy, Scola's We All Loved
Each Other So Much provides the occasion for the author's own
retrospective consideration of how Italian cinema has fulfilled, or
disappointed, the promise of neorealism.
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