Italy is not one country but a multitude of little countries, and each has its own version of the official language of the Italian state. He is not interested and tells her of his futile search for a young woman he met and fell in love with shortly after the liberation of the city, six months before.
Paisà / Paisan is both one of the defining films of the neo-realist movement and regarded by some as Roberto Rossellini’s last “true” neo-realist work. In the original pitch document, Paisan was described as a film that would celebrate the American liberation of Italy, but Rossellini abandoned early scripts as the filmmaking process threw up the real subject at hand—the realities of Italian life in the period of 1943–44. Her “reality” is to be found not in some simple authenticity but in her independence of spirit and in her very real distance from the Sicilian villagers around her. When the guests and their hosts sit down to supper, Martin observes that the monks have nothing on their plates. Before the small German reconnaissance patrol reaches the castle, Carmela hides Joe in the basement. Carmela’s Neapolitan speech could not pass for Sicilian, and she had to be dubbed. It is divided into six episodes. These famous streets are now the literal front line of the battle between the Germans and the partisans, and the great Uffizi Gallery becomes simply a place to avoid fire.
Paisan (Italian: Paisà) is a 1946 Italian neorealist war drama film directed by Roberto Rossellini, the second of a trilogy by Rossellini. When the Germans send her for water, she sneaks back and checks on Joe, only to find him dead. From the opening dialogue between Joe and Carmela, in which neither can speak the other’s language, the film insists on the distance between intention and reception in speech. As David Forgacs puts it, from the moment of his very next film, Germania anno zero / Germany, Year Zero (1947), The Allies invade mainland Italy and capture the port of Fred (Gar Moore) is a drunken American soldier in liberated Rome. The film is made of six episodes following not only a chronological but geographical story line. Indeed, when Rossellini discovered these caves, he abandoned the original story line for Naples in favor of the one we have. It would, however, be a great mistake to think that this amalgam of which Bazin spoke is the result of some straightforward arithmetic in which truth is added to fiction. Carmela was not a Sicilian but a girl whom Rossellini had found in a Neapolitan village. As he describes the woman, Francesca realizes that She learns that he is now "Lupo", leader of the local partisans. However, perhaps the most striking use of location comes in the fourth episode, in which an English nurse and an Italian man traverse the well-known streets of the center of Florence, she seeking her lover, he his wife and child. They are set in the Italian campaign during World War II when Nazi Germany was losing the war against the Allies.
The first episode is set the very day the Allies landed in Sicily, their first one in the European continent, in that crucial summer 1943. Thus all the dialogue of the friars, who spoke Neapolitan, had to be dubbed into the Romagnolo dialect.Rossellini’s realism, that is, should not be understood as some simple transcription of reality but as a juxtaposition of elements that become real as the camera captures them. Rossellini engaged six writers, each of whom was to write one episode: Roberto Rossellini's film would inspire future directors, such as Italian This emphasis on language as miscommunication seems at odds with Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh. Roberto Rosselini's Paisan was his second postwar film, made after his scrappy, low-budget Rome Open City, which was filmed in the immediate aftermath of World War II with any film stock he could scrape together.Paisan is similarly rough and minimalist, continuing the ragged neorealist style that Rosselini inaugurated with his postwar work. A young woman, Francesca, takes him to her room, hoping to earn a little money through prostitution. Even when language does communicate, it often does so by accident. If we examine the case of Carmela, we will see how complicated is the process by which Rossellini makes reality live in front of the camera. Director Roberto Rossellini uses this film to portray the drastic consequences of war on a nation, the people, and overall society.
A great deal of the power of the final shot, in the third episode, of the American soldier Fred leaving Rome, without having sought out the girl he loved some six months earlier, derives from the fact that he waits for the lorry to pick him up outside the Coliseum. Much of the force of the second episode, in Naples, comes from the footage of the extraordinary caves at Mergellina, in which the street urchins live. This procedure was used again in the monastery sequence, for while the monastery in the story is set inland from Rimini, in the north of Italy, the actual monastery filmed was near Salerno, in the south. The Germans throw her off a cliff to her death and leave. Despite the language barrier, Joe starts to overcome her indifference. Roberto Rossellini’s follow-up to his breakout Rome Open City was the ambitious, enormously moving Paisan, which consists of six episodes set during the liberation of Italy at the end of World War II, and taking place across the country, from Sicily to the northern Po valley.
But if this interplay between the villagers and an Italian outsider is part of the reality the film captures, part of the way the film comes to life, it posed problems for another of the film’s most realistic elements, and emphases: the various dialects that Italians speak. He inquires and learns that the monks have decided to fast in the hope of gaining the favor of Heaven to convert the other two to their faith. The transformation of the historic city into a battleground is made most vivid when a British officer, consulting a guidebook, wants to know exactly which famous bell tower he is looking at, and the Florentine, desperate with worry about his wife and child, says that he has no idea.This conversation at cross-purposes is typical of a film in which the role of language is to obscure rather than reveal.
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