Blog Directory CineVerse: No country for old men

No country for old men

Thursday, April 20, 2017

If you enjoy films that function as interesting character studies of individuals living realistically in their natural environment, you'd be hard pressed to find a truer example of this form than Vittorio De Sica's 1952 neorealism masterwork "Umberto D." Warning: the plot is thin, the tone is grim, and the pace is slow. But it's about as honest and authentic a movie of its period can be, and that's refreshing. Our CineVerse group came to the following realizations about this picture:

WHAT ARE SOME OF THE PRIMARY THEMES PREVALENT IN UMBERTO D.?
Life is often not fair, and those who often need the most help find the least help.
The struggle to maintain dignity and eke out an existence in a pitiless world where no one seems to care.
Even the most mundane existence devoid of excitement can still have meaning and resonance.
As long as you have at least one other being to love and be needed by, life is worth living.

WHAT DID YOU FIND INTERESTING, UNEXPECTED AND MEMORABLE ABOUT THIS FILM?
It isn’t sentimental, mawkish or emotionally manipulative; ponder, for example, the scene where Umberto looks for his dog at the pound and sees all the confined canines who will likely be euthanized—the filmmakers could have tugged at your heartstrings more here, but they don’t; they simply let the scene play out without manipulation.
It’s a bleak, warts-and-all character study that can be depressing and downbeat. There’s very little humor or comic relief, and few exciting things that happen to this man or his dog.
The lack of sentimentality can actually cause viewers to feel less or no sympathy for Umberto. Consider what reviewer Glenn Erickson wrote: “The story doesn't have cute kids, dreamy lovers, or crime thrills to distract the audience. Instead we get the kind of grinding real-life problems faced by the honest poor. I can see less generous viewers reacting to Umberto's lack of options by deciding that his problems are his own fault. It's true: the average audience will accept social realities in their entertainment, but even an art house crowd wants to be 'entertained'. Umberto D. is an uncompromised neorealist experience.”
It employs real time sequences and depicts banal everyday occurrences—consider the maid’s humdrum morning routine or the old man’s attempts to go to sleep.
It feels documentary like, brutally honest, unscripted, and nontheatrical. This is not a sympathy-soaked melodrama filled with contrived conflict.
Contrary to other neorealist movies, this does not depict the struggles of the working class everyman in or near the prime of his life; Umberto himself is a low-income, forgotten old man who lives a relatively miserable existence. He’s not rebelling against socioeconomic forces or seeking justice—he simply wants to exist alone and in peace.
The key social issues explored in this film are not necessarily economic injustice, man’s inhumanity to his fellow man, and postwar social challenges faced by most people; instead, the struggle here is to thwart shame and maintain dignity and decency in the face of old age.
This neorealism film has a much simpler and straightforward plot. The primary relationship portrayed here is between a man and his dog.
The movie uses a lot of long shots that often show Umberto and his dog from far off, versus medium or close-up shots; the longshot effect evokes a feeling of distance, isolation from others, and loneliness.
According to Roger Ebert: “"Umberto D" tells what could be a formula story, but not in a formula way: Its moments seem generated by what might really happen. A formula film would find a way to manufacture a happy ending, but good fortune will not fall from the sky for Umberto. Perhaps his best luck is simply that he has the inner strength to endure misfortune without losing self-respect. It is said that at one level or another, Chaplin's characters were always asking that we love them. Umberto doesn't care if we love him or not. That is why we love him.”

OTHER MOVIES DIRECTED BY VITTORIO DE SICA:
Shoeshine
Bicycle Thieves
Miracle in Milan
Two Women
Yesterday, Today and Tomorrow
Marriage Italian Style

WHAT OTHER FILMS CAN UMBERTO D. MAKE YOU THINK OF?
Ikiru
Wild Strawberries
Un homme et son chien
A Dog Year

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