"Rome, Undefended City" Italian neo-realism, shot by Rossellini in 1945. Interestingly, Rossellini had previously shot the film "The White Ship" to promote the Italian fascist army, but he was still in a series of reasons. Prompted to become the director of Italian neorealism.
A series of reasons: First, it was also World War II. Mussolini, the fascist leader, joined the Axis to expand, but his people were also victims. After the war, there were various social problems: unemployment, poverty, crime, etc. Italian filmmakers filmed the anti-fascist war against this backdrop. (I have to sigh the filmmakers' sense of social responsibility and social conscience)
Second, in order to consolidate the fascist regime, Mussolini attached great importance to the Italian film industry. The films they made were all propaganda films about the fascist army and vulgar comedies and erotic melodramas that blindly promoted the bourgeois way of life, but his people all After the war and the pain after the war, no one wants to listen to this lie, they want a film that reflects their suffering, poverty, struggle. Therefore, they also oppose Hollywood films, feel the falsity of Hollywood film aesthetics, and fight against all falsity, such as emphasizing poverty reality instead of Hollywood fantasy glamour. Showing ordinary mundane people instead of Hollywood's beautiful, fanciful ladies and gentlemen, so... So how do they practice it? 1 Also the protagonists of my ordinary people films are ordinary workers, peasants, and petty citizens, and the content is also about their lives (of course, it is different from depicting the romantic life of the upper class). What impressed me was that Zavatini thought that the filming was stopped due to various pressures. To paint a film about poverty, he commits a moral sin. Because he refuses to understand and become acquainted with poverty. And when he refuses to become acquainted with poverty, whether intentionally or not, he is escaping reality.
2 Looking at the camera on the street, try to discover conflicts from life itself, shorten the distance between performance and life, and reduce processing as much as possible. Therefore, the cameras are all on the outside, and the medium and long shots are mostly used, the use of long lenses, and the use of dramatic light in real shots. In fact, part of the reason is because their studios and industrial bases have been destroyed. However, live-action shooting is not a technical limitation, but a necessary element of the pursuit of realism.
3 The structure of the film breaks the linear causal relationship and the hypothetical plot, and cuts off the illusion of identity on the screen. To put it simply (not what I said, it's an American director who doesn't know who) American movies: the plane flew over, the cannon fired at it, and the plane crashed. Italy: The planes fly, the planes fly, the planes fly, the planes fly... And the refusal to give the fate of the protagonist a way out, they think that life is uninterrupted The contradictions in real life do not end with the end of the film (Suddenly I remembered Hans Christian Andersen's fairy tale: The prince and princess lived a good life since then. To be honest, I loved it when I was a child, and now I also yearn for it [Er Ha]) Therefore, it is very artificial to clearly point out the way out, rather than the principle of creation. contradict.
In terms of actors, a large number of non-professional actors are used. Reflected in this film, the actual scene of "seeing the camera on the street" is here. It has created a series of images of ordinary people such as missionaries and workers' wives, and the heroine Ping Na is Anna Maniani of the music cafe. When showing the death of the heroine, there are not too many segmentation scenes (usually a heroine Death, that is absolutely, the whole world, medium and close-up, close-up, close-up, close-up of the tears of the people around you, a drop of tear across the face and a huge close-up, expressing their "farewell speeches" and so on, but this scene was really unexpected, the heroine Because the husband was caught in the car by the fascist army and kidnapped, he rushed out of the crowd to chase the car, and then the soldiers opened fire, the female protagonist fell to the ground, someone came, and it was over. There is no close-up, just a big panoramic view without even a front, less than For one minute, there were no lines, no slow motion of the heroine falling to the ground, no close-up of the heroine's face shot, no one hugging the heroine's body and crying. As for making me think that the heroine was not dead, the priest saved the heroine again...)
Even without the gripping plot and dramatic rendering, (still made me cry [kneeling]) the theme is very expressive and shocking, and the impact is far-reaching (otherwise I wouldn't want to write something so much) Rossellini died in Rome on June 3, 1977.
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