Umberto D. 1952 ITA SUB ENG 1080p BluRay x264

Year: 1952

Country: Italy

Director: Vittorio De Sica

Cast: Carlo Battisti, Maria Pia Casilio, Lina Gennari, Elena Rea

IMBD: Link
Language : Italian

Subtitles : English


Critics at the time thus stressed how “neorealism has without doubt managed humbly to reconnect itself to the lost reality of life,” drawing attention to its “humility of heart and mind,” its depictions of a “world of living and humble people, men who resemble us.” Not only did critics demand that artists be “humbly stripped of creative arrogance,” but artists, too, stressed humility as their guiding objective. Vittorio De Sica concisely encapsulated the objective in a 1948 interview on the subject of Ladri di biciclette: “My film is dedicated to the suffering of the humble.” If the sermo humilis can thus be said to characterize neorealism’s address, however, this is not at all to say that neorealism’s ambitions were somehow humble. Indeed, behind the humility of tone and subject matter was a far-reaching cultural program whose goals were anything but modest. Neorealism’s dedication to Christian humility was never an end in itself; it was, instead, a cultural strategy with political import.
This helps to explain, at least in part, why a cultural conversation that was often carried out in recognizably Christian terms frequently received a hostile reception in Catholic forums. While neorealism’s humble address suggested to some the seeds of a renewed Christian culture, many others, including prominent figures in the Italian government, perceived in neorealism’s claim to speak for the people a potential threat to Catholicism’s cultural and political hegemony. It was with this danger in mind that Christian Democrat Giulio Andreotti, upon taking up his position as Under-Secretary for Entertainment in 1947, set about restructuring state funding of the film industry in order to intervene directly at the level of production and dissemination. This effort culminated with the 1949 bill dubbed, in recognition of its strongest proponent, the “Legge Andreotti” (Andreotti Law), which stipulated that films receive financing based on their box-office success, a situation that tended – as was intended – to encourage a certain conservatism in filmmakers and producers, who worried that taking risks, aesthetically or politically, could alienate the mass audience on which commercial viability increasingly depended. Put into effect in 1950, the Andreotti Law also offered additional financial support for films judged to have particular “artistic quality,” a judgment to be issued from the minister’s own office, which had already been entrusted with all decisions regarding censorship. With his power effectively redoubled, therefore, Andreotti had final approval on all filmmaking in Italy. Such approval, he explained at the time, would be made in such a way as to promote
a sound production, of the highest morals and at the same time appealing, one that fits within [...] the new Italian [neorealist] school, which is a credit to our film industry and much envied abroad, and which we too must value, ensuring that this formula can and does have a spiritual significance.
While Andreotti thus suggested a desire to promote neorealism, in practice his aim was to control it. He wanted films to carry an unmistakably Christian – or more accurately Christian Democrat – message, and he was prepared to exert significant financial and political pressure to make sure his goals were realized. This was already apparent in 1948, with his insistence on cinema’s “spiritual significance,” and would become all the more apparent a few years later in a confrontation occasioned by his public opposition to Vittorio De Sica’s 1952 film Umberto D. Andreotti chastised the director, and by implication his neorealist contemporaries, for what he saw as the failure to uphold “any standard, if not of religion, at least of human solidarity.” In public statements such as these, Andreotti may perhaps be said to have articulated an ethics of cinema. Yet his material interventions, as well as his private correspondence, make evident that this was all in the service of a factional and confessional politics of cinema. Indeed, in a 1949 letter to then pro-secretary of state Giovanni Battista Montini, later to become Pope Paul VI, Andreotti revealed his ambition to give confessing Catholics “an effective weight in art and in the entertainment industry,” stipulating the need to “take over the film industry in Italy (... and) shape and promote men and initiatives on – or at least unquestionably close to – our side.” These were far from empty boasts; Andreotti had the power not just to regulate but also effectively to reshape the Italian film industry. Recognizing in the humble rhetoric of some of Italy’s most celebrated neorealist film-makers a bid for an alternative and potentially opposing authority, he intervened to attenuate their influence. (Charles L. Leavitt IV)

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Name: Umberto D.Vittorio De Sica.1952.BluRay.EA.mkv

Date: Mon, 28 Jul 2025 13:56:34 +0200

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Production date: Thu, 22 Jan 2015 00:59:30 +0200

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[ Edition entry ]
UID: 3887190439432325855

Hidden: No

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Playlist: No

Chapters:

00:00:00,000-00:04:04,578: Opening credits/Demonstration {eng}

00:04:04,578-00:09:58,556: Umberto Domenico Ferrari {eng}

00:09:58,556-00:15:13,830: Maria the maid {eng}

00:15:13,830-00:20:30,229: Threat of eviction {eng}

00:20:30,229-00:26:27,461: "All or nothing" {eng}

00:26:27,461-00:31:50,867: No sleep {eng}

00:31:50,867-00:40:18,875: Morning routine {eng}

00:40:18,875-00:47:48,616: The hospital {eng}

00:47:48,616-00:57:32,616: The search for Flike {eng}

00:57:32,616-01:04:20,857: An old friend {eng}

01:04:20,857-01:06:23,563: Desperation {eng}

01:06:23,563-01:11:14,687: "I'm tired" {eng}

01:11:14,687-01:16:43,057: Leaving {eng}

01:16:43,057-01:20:05,217: Change of plans {eng}

01:20:05,217-01:28:45,950: Umberto & Flike {eng}
This report was created by AVInaptic (01-11-2020) on 6-04-2026 23:32:26