Italian Neorealism Puns

What is the difference between the normal "realism" and "neorealism"/"italian neorealism" in cinema?

Sorry if this is not the right place to ask.

I’ve been studying Italian for quite a while now, and have gotten to the point where I can understand a whole lot of Italian as long as it’s spoken clearly and at a moderate pace. Responding is the harder part.

I’m really big on films, and I’m wondering if I should start watching more Italian Neorealism to improve my listening and speaking skills. Most importantly, are these films typically in different dialects or can I trust that they are in standard Italian?

The films I’m referring to are by directors like Rossellini, De Sica, and Visconti. Currently watching Umberto D.

It has many of the hallmarks, it attempts to make sense of the trauma of WW2 and the changed Italian identity. There’s a handful of directors who created the shifting aesthetics, Fellini, Rossellini et al.

So why isn’t it a new wave?

I just finished watching Le samouraï and now I want more. But when I started reading about Melville and the actors, Italian Neorealism seemed to pop up everywhere, so I was thinking if I would appreciate the style of FNW more if I started out with IN?

I've never followed a time period before, only certain genres, directors etc., so I'm kind of a "noob" in that aspect.

I watched the bicycle thieves recently and wanted to explore the Italian neorealism.Can you guys help me on this?So far I only know a few films is a must like paisan(1946),Stromboli(1950)(should I watch the one with English dubbed or the Italian?),Rome,open city(1945),shoeshine(1946),umberto D(1952).What else shall I watch except those I mentioned above?Plus,I need some online reading material on Italian neorealism,can you recommend me some? Thanks a lot!

Hey everyone,

i'm coming from watching a whole lot of nouvelle vague films, which i enjoyed A LOT. Since these are influenced by italian neorealism, i now wanna watch some movies made in that style. But since i don't know anything about it (and since i'm too short on time to read a whole lot about it), i wondered if you could give me some tips with what movie/director i should start to have the best possible experience.

Thanks in advance :-)

So I'm currently in the researching phase of my dissertation, which will be a recounting of key moments leading up to the development of the neorealist movement, an analysis of Obsession and Bicycle Thieves and observation of the lasting cultural impact and contemporary pieces that utilize neorealist themes. My tutor suggested that I need to find a new way to consider the movement and I'm struggling on where to start that thought process, my idea so far is clinical and I want to add a spin on it that will make it a more unique read but I'm having a hard time finding that when talking about a decades-old film movement, is there any advice or perspectives that anyone on this sub is willing to share?

Hello all. I'm working on my first video essay on the topic of the influence of Italian Neorealism on modern timepieces, as the title states. This started from an essay I wrote for my Film Studies class comparing the 1948 film "Bicycle Thieves" with the 2015 film "Brooklyn". The essay discussed the different ways that both films portrayed the trials of a large population through a focus on a single protagonist. In Bicycle Thieves, the story was seen as almost meaningless by the end as it was simply one of many nearly identical struggles and defeats, wherein Brooklyn's story was one of hope and the Irish people's newfound opportunities in migrating to America.

I am hoping to expand on this idea, and need suggestions of both Italian Neorealism films to discuss as well as modern timepieces. A couple films I know I'm going to discuss are "Umberto D", "Germany, Year Zero", and "Phoenix"(2014).

Any suggestions of film or talking points would be incredibly helpful!

LOL JK WHAT DO YOU THINK I AM SOME KIND OF EDGY PRETENTIOUS HIPSTER FAGGOT?

Pather Panchali is titled as “Song of the little road” in english. The film is literally the song of the little road i.e. in the endless phase called “time” your life is simply a small portion. Or a little road occupying a very small part of the infinite length of ribbon on which generations walkthrough. And there’s a song supplemented, a song that celebrates/labels birth, joy, peace, love and at the same time also refers to death, sorrow. A song whose lyrics are bittersweet, whose tune is melodious, adorable and melancholic. That is what Ray has implanted in his debut. It is about the simple lifes of a family dreaming of a better life from the grounds of poverty, yet enjoying the simple pleasures of life in the chaos. Ray gently pricks the conscience of humans through his aesthetic and authentic drama, leaving out to the viewers to judge ‘what is good & what is bad’ in the miserable and innocent lives of the same human race but from the ignored and insignificant portion. The story is set in a rural village of India of the 1910s backdrop, that captivates the viewer with its own beauty and own kind of life. The storytelling style was inspired by italian neorealism, more specifically from the films Vittorio De Sica and James Renoir. That style later turned out to be Parallel Cinema in India.

Pather Panchali was released on 26 August, 1955. It is a powerful portrayal of human emotions and their delicacy. The film is an open to interpretation film . One can derive many interpretations from the same single story. Your interpretation will reflect yourself and your social empathy. Ray uses symbolism and lyricism to make his work more communicative and effective, surprisingly with more non-verbal drama. Though the film is based on the characters of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name, Ray has made the characters more deeper and with relatable traits. With rich aura of countryside and it’s objects starting from village elders to innocent kids, from religious gatherings to street dramas, from artists to mobile sweet vendors, from sacred ponds to barren lands, from perished huts to newly built railway line, the village is a complete world with no reference of urbanization or pro-active intelligence. It humbly pushes away intellectuality and enjoys under the shade of conventional and simple human life, far away from right & wrong doings.

If you can closely observe the ending, I have a set of interpretations, “Though Durga is a

Hello friends.

I'm writing an essay about Italian Neorealism in school, and how it has an effect on modern movies.

''The Comedy'' which Tim stared in came to mind. A quote I have from some neorealism expert said that neorealism shouldn't tell fairy tales to invent intrigue, which gives artificial suspense but to observe reality and discover the richness of real life. Also, it should be very realistic and use real streets and places, not studios

I think in some ways ''The Comedy'' does that really well, it depicts the sad life of this 30 something guy who's aimlessly is walking thru life. I think it depicts the life of many people in that age group in New York and the real problems that come with it.

Any ideas on how I can maybe link the movie better to Neorealism

I know it's far-fetched but do you think this works? Honestly i just thought it would be great to reference Timmy in one of my uni-essays

Does anyone know if there's a Brisbane film society? I'm not really interested in going to cinemas and seeing current films, as there are several Meetup groups for that. I'm thinking more about special screenings of films and/or discussion of films (old/new/foreign etc.), preferably with both a viewing and social element.

I know there's a Horror Film Society (not really my thing) and a vintage film society that shows films down the Old Museum. There's also a Brisbane Film Study Group which sounded promising, but from their website looks like it's just a front for Ayn Rand Capitalist fetishists and I don't really want to spend an evening discussing politics with a bunch of Ben Shapiro wannabes.

I’m working through film chronologically and am trying to hit most of the important moments throughout the brief history of the art form. I’m currently beginning a journey into 1930’s film and am looking to fill out a watchlist for the decade. What I’m struggling to find are some good recommendations for Telefoni Bianchi films. This particular movement interests me both for my current project but also to understand the impact it has on Neorealism and Italian cinema of the 40’s/50’s/60’s.

Does anyone have any recommendations of the best or most important films of this movement?

So I've found myself in love with Coppola's work recently and I'm wondering if y'all would say this style pulls inspiration from Italian neorealism? What other style classifiers would you use for this somber and surreal tone?

If I like Lost in Translation, what do you recommend I watch tonight?

Variety Lights (1950): SPOILERS AHEAD: [SEEN ON THE CRITERION CHANNEL]: Federico Fellini’s first movie (well, technically he co-directed and co-wrote the screenplay, but the story was all his). I will probably risk the eternal scorn of Fellini film buffs, but I don’t regard Fellini as one of cinema’s greatest directors. His films are fine (and a few like Nights of Cabiria are entertaining), but none of the films of his that I have seen so far have moved me in any way. It is probably unfair to point to his early efforts like Variety Lights to prove my point because it took a few years after Variety Lights for Fellini to develop and mature into his signature style. Nonetheless, Variety Lights is a very standard showbiz movie that drags on longer than it should (even at 1 hour 38 minutes). Its most redeeming feature is its cinematography, which is helped by Criterion’s gorgeous transfer. Even for those of you who love Fellini and have not watched all of his work, Variety Lights is only worth your time if you are a completist and committed to watching every single one of his films.

Variety Lights is about a mediocre, ragtag vaudeville music hall troupe that barely scrapes out a living traveling from one rural Italian town to another. The story begins with one of the troupe’s performances. Among the audience is a young woman, Lily Antonelli (Carla Del Poggio), who aspires to join the troupe and make it big one day. She manages to catch the attention of the head of the troupe, Checco Dal Monte (Peppino De Filippo), and convinces him and the manager to let her join the troupe as a dancer. Checco ends up falling in love with Lily to the sorrow and disappointment of his faithful girlfriend Melina Amour (Giulietta Masina, who was Fellini’s real-life wife). Checco is sick of playing to half-empty theaters full of drunks in small pissant towns. Like Lily, Checco wants to perform at major venues and become a big star so he and Lily abandon their little troupe and venture off to form a new company. However, as things begin to brighten up for Lily, the opposite is true for Checco.

First, I have to say that the recent 4K transfer that Variety Lights received (along with Fellini’s other films in a gorgeous blu-ray boxed set that came out in December, 2020) is absolutely amazing. The film was already beautifully shot, with some stunning Italian rural and city shots (thank you Neorealism), and the 4K transfer brings the beauty of the film’s look into better focus

Don't you fellows hate when you want to explore movies similar to the one you are checking wheter it is a paleolithic age documentary or cosmic horror, italian neorealism etc. there are same stupid popular movie lists that are getting in your way and making harder to browse. Is there any way to get rid of them? Can I make suggestion to the letterboxd staff to add "sort by: relevant" or something.

Phil

Sudden Lee

Go post NSFW jokes somewhere else. If I can't tell my kids this joke, then it is not a DAD JOKE.

If you feel it's appropriate to share NSFW jokes with your kids, that's on you. But a real, true dad joke should work for anyone's kid.

Mods... If you exist... Please, stop this madness. Rule #6 should simply not allow NSFW or (wtf) NSFL tags. Also, remember that MINORS browse this subreddit too? Why put that in rule #6, then allow NSFW???

Please consider changing rule #6. I love this sub, but the recent influx of NSFW tagged posts that get all the upvotes, just seem wrong when there are good solid DAD jokes being overlooked because of them.

Thank you,

A Dad.

So far nobody has given me a straight answer

..... Will get a reward.

Variety Lights (1950): SPOILERS AHEAD: [SEEN ON THE CRITERION CHANNEL]: Federico Fellini’s first movie (well, technically he co-directed and co-wrote the screenplay, but the story was all his). I will probably risk the eternal scorn of Fellini film buffs, but I don’t regard Fellini as one of cinema’s greatest directors. His films are fine (and a few like Nights of Cabiria are entertaining), but none of the films of his that I have seen so far have moved me in any way. It is probably unfair to point to his early efforts like Variety Lights to prove my point because it took a few years after Variety Lights for Fellini to develop and mature into his signature style. Nonetheless, Variety Lights is a very standard showbiz movie that drags on longer than it should (even at 1 hour 38 minutes). Its most redeeming feature is its cinematography, which is helped by Criterion’s gorgeous transfer. Even for those of you who love Fellini and have not watched all of his work, Variety Lights is only worth your time if you are a completist and committed to watching every single one of his films.

Variety Lights is about a mediocre, ragtag vaudeville music hall troupe that barely scrapes out a living traveling from one rural Italian town to another. The story begins with one of the troupe’s performances. Among the audience is a young woman, Lily Antonelli (Carla Del Poggio), who aspires to join the troupe and make it big one day. She manages to catch the attention of the head of the troupe, Checco Dal Monte (Peppino De Filippo), and convinces him and the manager to let her join the troupe as a dancer. Checco ends up falling in love with Lily to the sorrow and disappointment of his faithful girlfriend Melina Amour (Giulietta Masina, who was Fellini’s real-life wife). Checco is sick of playing to half-empty theaters full of drunks in small pissant towns. Like Lily, Checco wants to perform at major venues and become a big star so he and Lily abandon their little troupe and venture off to form a new company. However, as things begin to brighten up for Lily, the opposite is true for Checco.

First, I have to say that the recent 4K transfer that Variety Lights received (along with Fellini’s other films in a gorgeous blu-ray boxed set that came out in December, 2020) is absolutely amazing. The film was already beautifully shot, with some stunning Italian rural and city shots (thank you Neorealism), and the 4K transfer brings the beauty of the film’s look into better focus