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"Umberto D" is Umberto Domenico Ferrari, a retired civil servant unable to live on his meager pension. His landlady is always after him about paying the rent and threatens to evict him while she rents out his room to prostitutes during the day. His only friends in the world are Maria (Maria-Pia Casilio), the pregnant but unmarried housemaid, and Flick, his little dog. Despairing over his situation, the old man contemplates suicide. "Umberto D" is a classic of the Neo-Realist period in Italian cinema and arguably director Vittorio de Sica's finest work. The title character is played by Carlo Battisti, a Professor of Glottology at the University of Florence, who had never acted before (i.e., ideal casting for the Neo-Realists). This is not a movie filmed on a studio set but out in the real world, where such details as Maria's morning ritual of grinding coffee become somewhat transcendent. There are moments of humor in "Umberto D," but most of the scenes are heartrending and the film's conclusion creates an ambiguity that speaks to the soul of the viewer.
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A neorealist film that can touch deeply inside even the most insensitive human being. De Sica presents an extravaganza of black and white photographs which are directly printed in your mind and they follow you for the rest of your life.De Sica ingeniously in this film stimulates some of the most diachronic social problems that torture humanity. Any viewer who finishes watching that movie directly becomes a better person
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This film is so affecting that I watched it with a near-unbearable anguish that prevented me from sleeping well that night. The plight of the old man should remind us of how important social programs are, in particular as the baby boomers age while resources appear to be dwindling. There is a real danger in the West of social upheaval between generations over the coming decade.
The plot is about an impoverished pensioner who had worked his whole life and could not make his ends meet in retirement. His landlady is cruel and dismissive, announcing that he must pay up or get ejected from the room he rents from her. There is an awful scene when he arrives home, only to find that a couple had temporarily rented his room for sex. Everywhere he turns, no one except for the live-in maid of the apartment has any sympathy for him, and she has her own problems to contend with. Even his old friends from his former civil service bureau will not help him. Without children or family, the only durable relationship he has is with a dog, Flike, who provides an emotional anchor for him that orders his life.
Though there are some maudlin moments, for the most part this is a starkly realist film, perhaps the best of the Neo-Realist genre in post-war Italy as many say here. This is a film that can rock you to your soul. It also ends with a heavy ambiguity, with the man on the street, unable to provide for his dog as he contemplates suicide. Truly a devastating decline.
Recommended, however much of an agony it is to watch.
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Most Helpful Customer Reviews on Amazon.com (beta)
44 of 44 people found the following review helpful
Dilys Powell's favourite film13 Nov. 2000
- Published on Amazon.com
In 1980 I saw this film at Chapter Arts centre in Cardiff after a lecture from aged but legendary film critic Dilys Powell. She had Umberto D (about a man and his dog for goodness sake) down as her favourite movie of all time. And you've got to remember that she had sat through about 35,000 films in her lifetime. As you might imagine I was fairly intrigued at this prospect. The reality is that this film genuinely delivers like no other, if you like your heart shaken and stirred with something authentic. Now I cry fairly easily at movies when the going gets tough, but this one is truly in a class of its own. In fact the final scenes are so painful and poignant that even 20 years later I cannot recall them without emotion. But ironically this film leaves you feeling better than when you went in about the human spirit, and that's why I think it's ultimately so great.
24 of 24 people found the following review helpful
The best of the Italian neo-realist films17 Jun. 2005
- Published on Amazon.com
Vittorio DeSica's wonderful "Umberto D" was one of the last films of the Italian neo-realism movement and by far its best one. It is also one of my favorite movies ever. The movie's premise is simple: it is a slice of the life of a poor lonely pensioner, Umberto. Throughout the movie, we see Umberto struggle to find money to pay rent to his horrible landlady, love his dog Flike, and deal with the loneliness and disillusionment of the postwar era.
"Umberto D" is a character-driven film. It works very well because of its sharp observations on loneliness and poignant gestures. The gestures evoke powerful feelings without necessitating dialogue. Many of the scenes, even the ones that do not necessarily advance the plot, are hypnotically beautiful in their simplicity. Take, for example, a beautiful scene where Umberto finally needs to beg for money but cannot physically bring himself to do it. He extends his palm up, but when a passer-by stops to give him money, Umberto quickly flips his hand over, as if testing for rain. The film is full of these small gestures that quietly emphasize the desperate loneliness and poignancy of Umberto's situation.
The acting in this film is absolutely superb. Carlo Battisti, despite having never acted before, is wonderful as the titular character; his face is a fascinating blend of stubborn dignity and weariness of life. Maria Pia-Casilio, who plays the maid, is just as good as evoking life's loneliness and quiet desperation. The supporting cast is also very strong.
One of the very few criticisms I have heard of this film is that it is too sentimental and borderline sappy. While some scenes with Umberto and his dog Flike are sentimental, never is it "too" sentimental. DeSica knows how far he can push his film without making it sappy, and he wisely shows it as it is. Nothing feels forced. The subject material itself and the simplicity in which it is presented will bring tears. (If you don't cry in this movie, you need to have your heart professionally de-thawed.) But "Umberto D" is never dumbed down into sappiness and clichéd corniness. It is a very powerful film.
"Umberto D" is the masterpiece of the Italian neo-realist era. Just the powerful and ambiguous ending alone is worth the price. It's a rather bleak and very realistic movie, but it makes some fascinating commentary on the human condition, specifically the loneliness we face. Highly, highly recommended. 5/5
21 of 22 people found the following review helpful
A relentlessly moving film11 Jan. 2000
- Published on Amazon.com
It wouldn't be easy to find a film which is more relentlessly moving than Umberto D. Although it is a fairly simple story, the power of the images and characters will remain with the viewer long after the movie ends. The film effectively draws the viewer into the life and struggles of an old man and his dog as their condition becomes increasingly desperate. It is almost painful to watch at times but it is also one of the most beautiful and unforgettable films that I have seen.
12 of 13 people found the following review helpful
(4.5 stars) A classic Italian neorealism film that captures humanity in times of despair.1 Dec. 2012
Dennis A. Amith
- Published on Amazon.com
Director Vittorio De Sica, the famous actor and well renown director who was a major proponent to Italian neorealism of filmmaking and introduced the world to films that would take the world by storm. De Sica had many popular films under his belt such as "Miracle in Milan", "The Children Are Watching Us", "Two Women" and many more. But it was the neorealistic films of De Spica that many remember. Films such as "The Bicycle Thief" and "Shoeshine", films that epitomized showcased the poor and working class in Italy. How one deals with poverty and when desperate, the life changing decisions that are made.
But it was the 1952 film "Umberto D." which De Sica has said is the film which he prefers among all the films that he has made because of its "uncompromising portrayal of the characters and incidents that are genuine and true".
But "Umberto D." was a film that would become noticed now more than when it first screened in theaters in Italy. As Italy tried to move past the neorealism and wanted to show the country as healthy, "Umberto D." continued De Sica's dedication to showcase people living in poverty. According to film critic, Stuart Klawans, "Umberto D." was a film that was despised by the Christian Democratic Part's Giulio Andreotti and it was his party who had control of the government and also the movie production loans and right for pre-censorship over scripts. Andreotti went as far as saying De Sica was guilty of slandering Italy abroad.
Needless to say, the film bombed in the box office in Italy and different parts of Europe despite winning a Bodil Award for "Best European Film". But it appeared that audiences fascination with Italian neorealism was over.
Meanwhile in the US, Americans had a different perspective and gave the film a New York Film Critics Circle Award for "Best Foreign Language Film" and the film was nominated an Oscar for "Best Writing, Motion Picture Story".
Before De Sica's death, if there was one thing about "Umberto D.", its that De Sica has always believed it was his best film because it was a film made the way he wanted without compromises.
"Umberto D. was a film written by Cesare Zavattini (who also wrote "Miracle in Milan" and "The Bicycle Thief"), cinematography by Aldo Graziati ("Miracle in Milan", "Indiscretion") and music by Alessandro Cicognini ("Miracle in Milan", "Tomorrow is Too Late", "Anna of Brooklyn"). And the film would showcase people who have never acted before, with the exception of the trained dog who had appeared in several films prior.
The film was a cineaste favorite when it was released on DVD by the Criterion Collection in 2003, but now De Sica's masterpiece was released on Blu-ray by the Criterion Collection in Sept. 2012.
"Umberto D." is presented in 1080p High Definition, black and white (1:37:1 aspect ratio). This new transfer on Blu-ray looks incredible compared to its previous Criterion Collection 2003 DVD counterpart. Picture quality is actually very good for a film created back in 1952 courtesy of the restoration done by Cineteca Nazionale-Scuola Nzionale di Cinema in collaboration with Mediaset and the original DVD transfer was quite impressive when I originally reviewed it years ago.
But watching it in HD, the detail of the film is impressive. Whites and grays were were well-contrast and black levels were nice and deep. The picture quality is clean and contrast is stunning. The Blu-ray release of "Umberto D." is fantastic and fans of the film will definitely see the improved transfer to be worth the upgrade from the original DVD to Blu-ray.
According to the Criterion Collection, the high-definition digital transfer was created on a Spirit Datacine from the original nitrate camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean, while Digital Vision's Phoenix was used for small dirt, grain and noise reduction.
AUDIO & SUBTITLES:
As for the audio, audio is presented in Italian LPCM Monaural 1.0. Dialogue is clear and I heard no audio problems during my viewing of the film. According to Criterion, the soundtrack was mastered at 24-Bit from a 35 mm optical track print. Pops, crackle, hiss and hum were manually removed using Pro Tools HD, Crackle was attenuated using AudioCube's integrated workstation.
Subtitles are in English.
"Umberto D." comes with the following special features:
That's Life: Vittorio De Sica- (54:32) A 2001 documentary directed by Sandro Lai about Vittorio De Sica's career and behind-the-scenes footage from De Sica's past interviews, behind-the-scenes footage and more. Maria Pia Casilio Interview - (12:06) Filmed in 2003, Maria Pia Casilio talks about how a seamstress with no acting ability won the role for "Umberto D." and from that moment, how and why Di Spica gave her an opportunity to be in every film of his. Trailer - The original theatrical trailer for "Umberto D.".
"Umberto D. - The Criterion Collection #201" comes with an 18-page booklet with the following essays: "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D." by Stuart Klawans, "De Sica on Umberto D." and "Am I Battisti or Umberto D.?" by Carlo Battsti.
It has been nearly a decade since I have watched "Umberto D.", one of filmmaker Vittorio De Sica's masterpiece and a classic film of Italian neorealism that many will remember long after they have watched it. A film that resonates strongly within a viewer because of its heartfelt story, its circumstance and imagery of its time, but most importantly, a film that event today, many people experience similar situations of homelessness and being too old and relevant to others during a time where world economy is bad and one can only hope for the best.
"Umberto D." is a story about humanity, a story about hope and persevering no matter how bad things are and to protect those who you love or are close to, even when a person is unsure if they can do it or not.
When I originally reviewed this film years ago, it was during at time that I took an interest in De Sica's work. At the time I wrote, "And fortunately, both films are not alike with the exception that you have two older men who contemplate their life as "Ikiru" focused on a man who doesn't have much time to live, while "Umberto D." is about a man who is trying to survive and knowing he has no one to depend on, but yet his dog...his only companion depends on him and several times, Umberto has disappointed his canine friend. His stubbornness and not willing to find shelter but to see if he can prove to his landlord that he will not be kicked of his apartment can be seen as commendable, and that the old man still has enough fight in him. In "Ikiru", we see the value of life. In "Umberto D.", we see an old man's life thrown into despair and not knowing what to do with his life. Nor does he do much to fix it.".
Watching "Umberto D." once again, the relationship between Umberto and canine companion is important because for many older people, one must be inspired to live. For Umberto, the dog is his connection to life, having no family that he can depend on, no friends that he can depend on, it's his dog that needs him, depends on him and it's that relationship that captivates the viewer. We feel sympathy for both but knowing that old age, no job, during a time of despair...you feel as if things continue to be unresolved, hope may seem to far out of reach.
The film has so much relevance because I'm sure even 60-years after this film was released in theaters, I'm quite sure many people have met someone like Umberto. Young adult or elderly, family member or friend... I'm sure that there are times we have been apathetic and also frustrated by such people. This was a time of despair economically and while families had each other, those who were elderly and could not work were not seen as productive but as expendable.
And so, the message of the film was taken to heart by those who have watched it then and now. Interesting enough that the film was criticized because it was seen as a disservice to Italy according to Giulio Andreotti, Undersecretary of Public Entertainment, who wanted to see more healthy and optimistic cinema. But it's understandable as Italy was undergoing a tumultuous time of uncertainty. The government wanted to rebuild Italy to a positive nation and they needed their film industry to change the mood of its people. While De Sica and other filmmakers wanted to bring attention to social injustice and the need for social reform to help the poor.
Needless to say, it was a conflict in Italy's cinematic past and in the end, more people wanted to be entertained than be shown what they know already about their country's political and social problems and sure enough, Italian Neorealism would eventually start to transition into more upbeat films via commedia all'italiana or even neorealismo rosa, which later became more in demand.
Seeing the transition and changes in Vittorio de Sica's career, I look at "Umberto D." as a time capsule to Italy's past and grateful that the filmmaker used cinema to communicate to viewers that the people have the right to voice their displeasure towards their government and ask for social reform.
"Umberto D." and "The Bicycle Thieves" are important films by Vittorio De Sica, because we watch how this filmmaker wanted to see change and what best to use cinema as a powerful voice to communicate to millions.
I mentioned that "hope may seem so far out of reach" for Umberto D., but the ending of the film can be seen by different people with different interpretations. I tend to look at it as man's best friend giving the man a second chance at life. Whether your optimism or pessimism comes into full gear after watching this film, just know that its relevancy then continues to be powerful even now and this classic Italian film should be seen by all cinema fans. I would go as far to say that "Umberto D." is a must-watch film and for cinema fans, it's also a must-own. I believed back then that this film was a keeper and I still hold that belief today.
As far as the Blu-ray is concerned, the transfer to Blu-ray is fantastic. Back in 2003, my review was favorable because of its restoration and clarity on DVD. But watching it on Blu-ray, the clarity, contrast and overall picture quality makes this version the one to own. As for special features, I absolutely enjoyed the documentary about director Vittorio De Sica's life and also hearing from the actress Maria Pia Casilio and hearing how cool of a director De Sica truly was and how he treated her so well. You can only admire what De Sica brought to filmmaking but also when given the opportunity to create a film with no compromises.
Overall, "Umberto D." is a masterpiece. Cinematography was beautiful, the non-professional actors turned actors brought a wonderful performance for the film and Zavattini once again has nailed down a solid screenplay. Sure, "Umberto D." may not tug at your heart or make you cry like Kurosawa's "Ikiru" but the despair of his characters are quite real and relevant today.
It's Italian neorealism at its best and "Umberto D." is definitely a film that I highly recommend!
10 of 11 people found the following review helpful
The greatest movie ever made22 Aug. 2003
- Published on Amazon.com
Not much more needs to be said. There's no need to gild this lilly, the greatest film ever made. The dog's name is Flag, not Flike! I believe that De Sica chose the name as an homage to another director, the American Clarence Brown, who made The Yearling a few years earlier and the name of the fawn is Flag in that great movie. There's a small irony there: it illustrates De Sica's worldliness, his sophistication, his familiarity with and love of popular culture, especially films. There is not a trace of that charming quality in his masterpieces. Everyone should see Umberto D. Great art is our only shot at becoming civilized. And then see his other incomparable movies: The Children Are Watching Us, Shoeshine (about which Pauline Kael said that if Mozart had made movies, this is what they would have been like), The Bicycle Thief and, especially, Miracle in Milan, which is a comedy -- but not like any comedy you've ever seen. It's bliss. If you want to know what this art form is really like and what it can do to change your life, you need to see these masterpieces of De Sica.