Vittorio De Sica’s Umberto D. in the Context of Italian Neorealism: Production, Reception, and Precedence
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This essay investigates the history of the Italian neorealist movement in the cinema and the place of De Sica’s Umberto D. (1952) in that movement. By the early 1950s, the team of Vittorio De Sica and Cesare Zavattini had reached a peak of mutual understanding, whereby the director and his writer could carry their neorealistic approach to its most concessionless expression: to insert into a film ninety minutes of a man’s life in which nothing happened. This was Zavattini’s avowed ambition, and he chose to fulfill it in a picture about the loneliness of old age: Umberto D. The titular character is a retired government clerk, whose struggle against isolation, destitution, and humiliation is the movie’s subject.
Abstract
This essay investigates the history of the Italian neorealist movement in the cinema and the place of De Sica’s Umberto D. (1952) in that movement. By the early 1950s, the team of Vittorio De Sica and Cesare Zavattini had reached a peak of mutual understanding, whereby the director and his writer could carry their neorealistic approach to its most concessionless expression: to insert into a film ninety minutes of a man’s life in which nothing happened. This was Zavattini’s avowed ambition, and he chose to fulfill it in a picture about the loneliness of old age: Umberto D. The titular character is a retired government clerk, whose struggle against isolation, destitution, and humiliation is the movie’s subject.
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