An extraodrinarily chilling and moving depiction of human remains (corpoeal, psychological, and moral) amidst ruins. Rossellini's despairing account of moral dislocation, collective trauma and guilt is conveyed with an ontological depth, rarely encountered in cinema. Interior and exterior shots mesh in terms of emotional emptiness as Edmund wanders into Leviathan's entrails before his surrender to meaninglessness.
Largos travellings que deambulan errantes por las ruinas del espacio, en donde Rossellini unifica el individuo junto con los espacios deshabitados. Precisamente este vacío forma parte no solo del conjunto sino del sujeto, Edmund, el niño, el año cero, que explora sin saber, pero bajo la presencia de las posibilidades que se le muestran: el engaño del nazismo, la moral perdida, la voz de Hitler en las sombras.
45/100 (SPOİLER !!! 13 yaşında. Kaba tabirle 6. sınıfa yeni başlayacak. Evet çocuk 13 yaşında ancak düşünceleri 40 yaşında. Eğer böyle ince düşünebilen, varoluşsal sancı çeken, babası aileye yük olmasın diye feda edebilecek, bunun vicdan azabıyla intahar edecek kadar derin düşünebilen çocuk gösterirseniz puanım sizin için 100 olarak değiştirilecektir.)
Last of Rossellini’s War trilogy, this time following a young German boy among the rubbles of a German-occupied Rome. Neorealism at its most effective and filmmaking that blurs the lines between fiction and reality. A film like this could never be recreated the same and that is why it is so precious. The despair of loss of young life was partially inspired by Rossellini losing his own son two years earlier.
What a film to drop on 1948! I was surprised to hear it got a so-so reception. Yes, it makes its points through unnecessary contrivances, as does most of neo-realism. But the haunted face of the young boy, the simultaneous ambiguity and clarity of Nazi Germany's defeated citizens, and most of all the restless camerawork—always circling—were ahead of their time. A raw cry to hold onto life, no matter the circumstance.
A horse's corpse is chopped by a mob in the streets of Berlin; an enveloping ruinscape is the scenery of a precise moment in time defined by the inexistence of a moral centre; everything has to be rebuilt, even purpose and ideology. The voice of Hitler echoes amidst the rubble, like that of a ghost. Long travellings follow Edmond's intermitent behavior: suicide and play blend as a continuum of childlike weariness.
pretty incredible. edmund, a personification of post-war germany's struggling dichotomy in identity, simultaneously a product of nazi germany and their loss, reflects a society's inability to reconcile its sordid past and its uncertain future. heartbreaking to witness this allegory through the haunting travels of a child in the backdrop of a destroyed berlin to punctuate this turmoil.
I can’t remember “Rome, Open City” very well, but I think I like this better. It sticks in the mind more, and that ending truly shocked me. Rossellini is not my favorite director though. I find his style to me a little too… something I can’t put my finger on. I wouldn’t call this melodramatic, but it feels more forced than some other great neorealist works, like “Bicycle Thieves.” Still good though.