Umberto D. is a seminal Italian neorealist film directed by Vittorio De Sica, released in 1952. This poignant drama tells the story of Umberto Domenico Ferrari, portrayed by Carlo Battisti, a retired civil servant struggling to maintain his dignity while facing eviction from his modest rented room in Rome.
Plot Overview
The film opens with Umberto participating in a protest for better pensions, highlighting the struggles faced by the elderly in post-war Italy. Upon returning home, he discovers that his landlady is threatening to evict him if he cannot pay the overdue rent of 15,000 lire. As he attempts to gather the money through various means, including selling personal belongings, he finds himself increasingly isolated and desperate.
Umberto's only companions are his loyal dog, Flike, and a sympathetic housemaid who confides in him about her own troubles. The bond between Umberto and Flike serves as a touching element of the film, emphasizing themes of companionship amid hardship.
Themes and Impact
Umberto D. explores profound themes of loneliness, dignity, and the human condition. It paints a stark picture of poverty without resorting to melodrama or sentimentality. De Sica's use of non-professional actors adds authenticity to the narrative, making Umberto's plight resonate deeply with audiences.
The film was initially met with mixed reactions in Italy due to its critical portrayal of society; however, it gained acclaim internationally and is now regarded as one of the masterpieces of Italian neorealism. Critics laud its ability to evoke empathy and reflection on societal issues without overt manipulation.
Cinematic Style
The film is characterized by its realistic portrayal of everyday life and its focus on character-driven storytelling. De Sica employs a documentary-like style that immerses viewers in Umberto's world, showcasing his struggles with simplicity and grace.
Conclusion
Umberto D. remains a powerful exploration of the challenges faced by the elderly and marginalized in society. Its enduring impact lies in its ability to convey deep emotional truths about human dignity and resilience. This film is essential viewing for anyone interested in classic cinema and the neorealist movement.
Plot Overview
The film opens with Umberto participating in a protest for better pensions, highlighting the struggles faced by the elderly in post-war Italy. Upon returning home, he discovers that his landlady is threatening to evict him if he cannot pay the overdue rent of 15,000 lire. As he attempts to gather the money through various means, including selling personal belongings, he finds himself increasingly isolated and desperate.
Umberto's only companions are his loyal dog, Flike, and a sympathetic housemaid who confides in him about her own troubles. The bond between Umberto and Flike serves as a touching element of the film, emphasizing themes of companionship amid hardship.
Themes and Impact
Umberto D. explores profound themes of loneliness, dignity, and the human condition. It paints a stark picture of poverty without resorting to melodrama or sentimentality. De Sica's use of non-professional actors adds authenticity to the narrative, making Umberto's plight resonate deeply with audiences.
The film was initially met with mixed reactions in Italy due to its critical portrayal of society; however, it gained acclaim internationally and is now regarded as one of the masterpieces of Italian neorealism. Critics laud its ability to evoke empathy and reflection on societal issues without overt manipulation.
Cinematic Style
The film is characterized by its realistic portrayal of everyday life and its focus on character-driven storytelling. De Sica employs a documentary-like style that immerses viewers in Umberto's world, showcasing his struggles with simplicity and grace.
Conclusion
Umberto D. remains a powerful exploration of the challenges faced by the elderly and marginalized in society. Its enduring impact lies in its ability to convey deep emotional truths about human dignity and resilience. This film is essential viewing for anyone interested in classic cinema and the neorealist movement.
Category
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Art et designTranscription
00:00:30Sous-titrage MFP.
00:01:00Sous-titrage MFP.
00:01:30Sous-titrage MFP.
00:02:00Sous-titrage MFP.
00:02:30Sous-titrage MFP.
00:03:00Sous-titrage MFP.
00:03:05Sous-titrage MFP.
00:03:10Sous-titrage MFP.
00:03:15Sous-titrage MFP.
00:03:20Sous-titrage MFP.
00:03:26Sous-titrage MFP.
00:03:32Sous-titrage MFP.
00:03:38Sous-titrage MFP.
00:03:43...
00:03:53Je vais le tuer !
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00:04:01...
00:04:08Je ne parle pas aux gardes,
00:04:10mais aux organisateurs du quartier.
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00:04:30Je n'ai pas de debts.
00:04:32Je n'ai pas de debts.
00:04:39C'est le bon moment.
00:04:41Allons-y.
00:04:51Bonjour.
00:04:58Je n'ai plus personne, ni un fils, ni un frère qui m'aide.
00:05:02Je suis un vieux bon à nulle.
00:05:05...
00:05:06Humberto Domenico Ferrari.
00:05:09Qui vit, aujourd'hui, avec 18 000 lires par mois ?
00:05:12Gisemila me l'apprend de la patronne de la maison.
00:05:15Elle m'a aussi mentionné l'affichage, celui-ci.
00:05:17Dis-le-lui, dis-le-lui.
00:05:19Nous sommes des hommes. Titane, titane.
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00:05:25Vous avez besoin d'un nouvel horloge ?
00:05:27Je l'ai, je l'ai, je l'ai.
00:05:29Je l'ai, je l'ai, j'ai un beau horloge.
00:05:31Je l'ai un, je l'ai deux, et c'est pour ça que je le vends.
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00:05:40Et ce n'est pas une marque ?
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00:05:42C'est bon. Il y a aussi la caisse d'or.
00:05:45Je suis arrivé.
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00:05:47Bonjour.
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00:05:53Bonjour.
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