Paisa [VHS] [1948]: Carmela Sazio, Gar Moore, William Tubbs, Robert Van Loon, Benjamin Emanuel, Raymond Campbell, Harold Wagner, Albert Heinze, Merlin Berth, Mats Carlson, Leonard Parrish, Dots Johnson, Roberto Rossellini, Alfred Hayes, Federico Fellini, Klaus Mann, Marcello Pagliero, Rod E. Geiger, Sergio Amidei: Amazon.co.uk: Video

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7 of 7 people found the following review helpful:

5.0 out of 5 stars Italian Neo-Realist Masterpiece from 1946..., 15 Jun 2005

By

Jason Parkes "We're all Frankies'" (Worcester, UK) - See all my reviews
(No. 1 Hall OF FAME REVIEWER)

This review is from: Paisa [VHS] [1948] (VHS Tape)

As 'Rome, Open City' (1945), Rossellini's feature concerns itself with World War II and its conclusion, and stands as a key-work of Italian Neo-Realism. Rossellini along with Vittorio De Sica ('The Bicycle Thieves','Umberto D')pretty much created this influential movement, building on elements apparent in Visconti's 'Ossessione' (1942). As with 'Rome, Open City' this film is partly improvised, it is co-written with Federico Fellini & presents a "real" depiction of people here- shot in a certain manner and characters who aren't black or white (the scene where the prostitute waits alone seems to me a key shot that exemplifies the Italian Neo-Realist movement).

'Paisa' presents six-fragmented episodes between newsreel footage and the historical events of Italy's liberation and the battle for it between 1943 and 1945. The first concerns American troops & an Italian female (the denoument is heartbreaking); the second, a relationship between an African-American soldier and a child; the third, a drunken G.I. remembering an Italian girl he loved (not aware that the prostitute he is with is the very same girl); the fourth, Partisan-street-fighting in a splintered-Florence; the fifth, an episode in a Franciscan-monastery in which three war-chaplains stay with the Order (predicting 'Francis, God's Jester' a few years later) & the final episode centring on a marshland war near Venice which concludes in the deaths of many partisans, thrown bound in the river to drown (as heartbreaking & symbolic regarding the idea of war as the final scenes of Ingmar Bergman's 'Shame', & as matter of fact as Klimov's 'Come and See').

'Paisa' is a masterpiece, one that presents the good guys in an unflattering way and thus an antithesis to simplistic World War II movies like 'Saving Private Ryan' & 'The Sands of Iwo Jima.' The look of the film predicts later films which look close to documentary - Pontecorvo's 'The Battle of Algiers' & Godard's 'Les Carabiniers.' The fractured, fragmented structure also looks towards the French New Wave, and the pay off endscene seems just as irnonic as that of say 'Bande a Part.'

'Paisa' warrants a similar DVD-reissue to that of 'Rome, Open City' and certainly ranks as one of the great war-films alongside 'Rome...','Come and See','Fires on the Plain','The Burmese Harp','Stalingrad','Salvador','The Battle of Algiers','Patton' & 'The Red & the White.'

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Amazon.com: 4.5 out of 5 stars (4 customer reviews)

19 of 20 people found the following review helpful:

5.0 out of 5 stars a devastating, haunting neo-realist epic by Rossellini, 28 Jan 2004

By J. Christal - Published on Amazon.com

Now that I have seen all three films in Roberto Rossellini's 'post-war' trilogy (the others being the groundbreaking Open City and Germany Year-Zero), I think Paisa is the one that got to me the most. I knew when I saw clips of the film in Scorsese's My Voyage to Italy that it would have some level of promise, but I didn't know it could be this compelling. Divided up into six vignettes, Rossellini paints something of a historical document as much as a film- each one carries its own strengths (there may be a weakness here and there for some, though this may lend itself to the fact that the film has not been restored and is in dire need of new subtitles), and the documentary-type approach elevates characters and situations to the level of great tragedy. These may be fictionalized accounts, they may not be, but in telling these stories, getting them through to the audience at the time, they remain potent little notes in film history.

From vignette to vignette, the allied forces move their way upward from Sicily to northern Italy. Among them, I got struck by how frank the issues were being dealt with, and how levels of humanity and kind-ness crept their way in. For example, the story with the drunken black man who spends some time with a kid dealing in the black-market, this is an emotionally complex scene- a viewer won't know how it'll turn out in the first few minutes, but it unfolds precisely to the characters' natures. The story involving the soldiers spending time in the monastery was also powerfully simplistic in the way it dealt with the themes of faith and sacrifice (the later stems to the other vignettes). And there are numerous other moments and scenes that can stop you dead in your tracks- a young child that cries in one scene and a nurse braving enemy territory had my mouth open.

I realize not that many people in my generation will seek out this film- notably since it's not easy to find except on-line- and certain scenes may seem too 'mushy' for some. However, there is worth to seeking out a work such as Paisa- in a sense, this and Rossellini's other early films were like the first independent films to Italy's claim. There isn't any sign in any of his post-war pictures that he's catering to studios or working on big budgets. These are stories being told with little money, non-professionals, and they definitely last years later after all the rubble was cleared. Maybe most remarkable is the way Rossellini and his writers (one of them Fellini) let things happen, and not without consequence or without logic of some sort. It's also a technically brilliant feature, with the cinematography by Otello Martelli creating shots as heart-rending as the performances. So, for those who hate dictated plots, sloppy clichés, and all the other disappointments found in 21st century movie-making & storytelling, this is a great place to dip your toes. If anything, it's surely thrilling as a war film.

15 of 19 people found the following review helpful:

5.0 out of 5 stars Starkly Realistic, 4 Sep 2000

By "enniscorthy" - Published on Amazon.com

Made in the aftermath 0f WWII in black and white, this film follows the progress of the American army up the boot of Italy through five searing vignettes, which keep you on the edge of your seat with their intensity, yet provide genuinely funny moments. It is a roller-coaster of emotions. It made an indelible imprint on my heart.

2 of 2 people found the following review helpful:

4.0 out of 5 stars Rossellini: An important figure in the development of the cinema..., 10 Jan 2007

By Roberto Frangie "Robert" - Published on Amazon.com

Often dismissed as a founder of Italian Neo-Realism whose career degenerated either at the start or the end of his much publicized relationship with Ingrid Bergman, Roberto Rossellini remains one of the most underrated directors in cinema history...

Exploring the links between fiction and documentary, observation and education, and the individual and society, he was an important figure in the development of the cinema...

Rossellini said of the film: 'In Paisá there were two worlds which came into contact, each with a different psychology and mental structure. From this contact was born a great confusion; so much so that in the end there were neither victors nor vanquished, there remained only the everyday heroism of the man who clings to life. And who lives, despite everything, whether he is one of the victors or one of the vanquished.'

Rossellini followed 'Rome Open City' with the equally impressive Paisá, whose six, often barely dramatic stories of part-comic, part tragic encounters between Italians, Germans and liberating Americans were rooted in specific locations (the Po Valley, the Uffizi Gallery), but were universal in their portrait of an entire nation destroyed and divided by war...

Already Rossellini's taste for long, mobile takes in long shot (rather than montage and close-up) gave evidence of his desire to relate individuals to the world around them...

In using a number of non-professional cast, and combining them with his improvisatory techniques, Rossellini get an universally acclaimed human document of rare quality and compassion...

Georges Sadoul wrote that Rossellini had 'damned the horrors that war had brought to his country and his heart cry was emotionally and enthusiastically understood around the entire world.'

› Go to Amazon.com to see all 4 reviews 4.5 out of 5 stars

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