Paisan is my least favourite film in the War Trilogy. Germany Year Zero is perhaps the only masterpiece out of the three and Rome, Open City is great because of its importance and the magnificence of the death scene. If Paisan is great, it is because of its association with the other two. Still, the miscommunication between the Italians and the Allied Forces is an interesting way of looking at the realities of war.
I understand the artistic aspect, the Neo-realism approach, but I did not find the movie entertaining. It shows good scenes of what was happening during the end of the Second World War in Italy, with the American and nazi troops and the Italian resistants. The director just wants to create a cinema that can be seen as reality.
One of the finest achievements in world cinema history. Scorsese has spoken about how uts absence of technique results in the finest uses of technique, and he is absolutely correct: it seems to capture a world offhand, where the people don't know they are watched and don't care if they're awkward. It's brutally frank about it's subject in both language and incident, and it spans the moral concerns of the whole world
It’s been 10 years since I first saw this film and I’m once again struck by the sheer humanist power of several of it’s sequences. The weaknesses are all forgivable once we understand the circumstances that birthed it. There is a wonderful variance in the styles of each story but they all focus on the individual power of the nameless, faceless true victims of a horror we call war. A great centrepiece in the trilogy.
I loved the WWII estethic and the outdoors cinematography. It shows crudely the consequences and products of war. Also the tragic ends were very italian neorealism trademarkt. Lastly, the screenplay was very outstanding, interesting and historical-based. That's why It is believable to think that those conversations actually happened and existed.
Pure cinema: Unadorned, humanist, tragic, despairing, redeeming. In short, ontologically true. One of the greatest moments of neorealism, it tackles with profundity the communicative gaps between Italians and Americans only to underline the overall moral confusion. The 6th episode must be one of the most moving pieces about resistance to have ever appeared on celluloid. Rightly it belongs to the pantheon of cinema!
Six separate stories focusing on different perspectives and ideologies right before the end of WWII. Possibly the most visual of Rossellini’s neo trilogy, but also the least impactful as we only got to know these stories for 20 minutes each. Devastating regardless.
The destructive nature of humans in 6 very tight vignettes. Covers the beauty/tragedy of communication barriers, the cost of family, ego and obligation, the brutality one faces in times of war. An absolutely massive piece of work, the pace of the film works to make us feel rushed as one would when there is no time to really adjust, to assess one's place in this construct. There isn't much like this.
Neorealism isn't just filming among ruins and poor streets, it's favouring people living and being in a moment, without breaking the space and time that surrounds them, and so being unable to grasp the whole story. In that sense, Paisà goes further than Roma, Città Aperta: in all of its episodes there's something elliptically left out, as we go along with the characters in circumstances that overwhelm them (and us).
I'll have to give this a re-watch, but the multiple stories offer little to hold onto. Perhaps, that is the point as the film is successful at capturing multiple viewpoints from multiple characters. The acting is definitely the weakest aspect, far from what we usually get from neo-realist films.
Perpetually uninteresting and lacking in anything that can keep the viewer in it's grasp. Six different vignettes told during WWII in Italy, all of which mostly lack any real power. Not as good as Rome, Open City, a film I wasn't even that big on either. Comes off as insignificant and poorly constructed.