Italian Cinema in the 1950’s

What Was Going On

Trieste (city in Italy) returned to Italy in 19541955 Italy joins the UN1957 The Treaty of Rome creates the

European Union1958 Rapid development of Italian economyJohn XXIII succeeds Pope Pius XII

A Conservative Era

The atmosphere of the 1950’s was a very Conservative one

Catholic Church welcomed thisThe Church formed an alliance with the DCThe PCI sufferedInvasion of HungaryItalian director Gillo Pontecorve

The Development of Neorealism

Expressed a vision of Italian reaction against Facism

Neorealist films have a reputation to be “box office disappointments” in Italy

However, because of their success outside of Italy, they became more popular in Italy

De Sica’s Sciuscià, The Bicycle Thief, and Rossellini’s Open City

Italian produced War and PeaceContinuation of historic, operatic, and biopic

genres

Musical Influence

Giuseppe VerdiPuccini AidaArrivederci RomaSingers and composers in film

Catholicism in Neorealist Style

Ideological basis in Catholic restorationMixing Catholic themes with neorealist styleMany of the grim post-war films were so

close to home that Italians didn’t want to relive it

Umberto D.ShoeshineBox office disappointment of Umberto D. led

to decline in neorealist style

Struggles in Italian Cinema

In 1948 only 54 films were made in Italy, and over 800 were imported

Eventually the law took place and tax reductions were offered for Italian films

In 1956 this law was replaced by a law that raised the number of days Italian theaters were required to book Italian films

Controversy over films like Umberto D. that depicted social problems

continued

Giulo Andreotti (long-serving cabinet minister) in a letter to De Sica, “If it is true that evil can be fought by

spotlighting its most miserable aspects, it is also true that De Sica has rendered a poor service to his country if people throughout the world start thinking that Italy in the 20th century is the same as Umberto D.”

De Sica

Vittorio De Sica was a leading figure in the neorealist film era of the 1950’s

Critics were often harsh on De Sica, claiming that his early 1950’s films did not continue the socially progressive tone of earlier neorealistic films like The Bicycle Thief

Critics accused De Sica of being a technician of Facist-era cinema

Ironically enough, De Sica went on to analyze social criticism in many of his comedies

Decline of Neorealism

The decline of Neorealism in Italian cinema led to an effect in politics as well

Many films from 1950 to 1951 were not near as leftist as earlier films had been, the Marxist influence decreased on films during this time

Although many neorealist films were praised by critics, many of the Italians were not impressed- they didn’t want to see movies that depicted the misery around them

continued

Critics often associate the decline of neorealism with the decrease in quality in Italian commercial film

Cheap melodramasIncreased imitation (little originality)CommercialismAvoidance of serious themes

A New Generation

Italian filmmakers took aspects of neorealism into new realms of social commentary and psychological drama.

Federico Fellini (co-scripted work for Rossellini)

Michelangelo AntonioniComedies became very popular in the 1950’s

in Italian cinemaThey provided a relief from all of the grim,

neorealistic styles of the Facist era

continued

Italian state television (RAI – radioaudiovisione italiana) first made its debut in 1954

Game or quiz shows like Lascia o raddoppia became very popular among the Italians

Many of these quiz shows copied American quiz shows

Neorealism Rosa

“Pink Neorealism”Directors attempted to head in a new

direction during this new generation keeping aspects like the truth of neorealism but at the same time, added a more commercial feel to it

Less non-professional actors, more color, more well known and famous actors

Luigi Comencini’s direction of De Sica in his Pan, amore… which consisted of 4 films between 1953 and 1956

continued

The Pan, amore… series featured former beauty pageant contestants Sophia Loren and Gina Lollobrigida

Both of their careers were boosted by their personal relationships with important producers and good looks, not necessarily their acting skills

Sophia Loren

Nine (2009)

Soleil (1997)

Aida (1953)

Toto Tarzan (1950)

Sophia Loren married producer Carlo Ponti

Gina Lollobrigida

Bread, Love, and Dreams (1953)

Beauties of the Night (1952)

La Bellezza di Ippolita (1962)

Married producer De Laurentiis

Maggiorata Fisica

The “Buxom Beauty”Directors used actresses like Sophia Loren

and Gina Lollobrigida who were once beauty pageant contestants

Michelangelo Antonioni, however, took a different direction

He used Lucia Bose, the Miss Italy winner of 1947, but not in the way actresses like Sophia Loren were used