★ 7 / 10
As the Allies begin their invasion of Italy
CinemaSerf
As the Allies begin their invasion of Italy in 1943, Roberto Rossellini tells us half a dozen stories that might have occurred as the largely American army…
As the Allies begin their invasion of Italy in 1943, Roberto Rossellini tells us half a dozen stories that might have occurred as the largely American army made their way through the country heading for Rome. These stories are not connected in any individual way, only by virtue of their providing some interesting vignettes illustrating the attitudes of the locals they encounter and the soldier's own behaviour. As they move from Sicily on up the peninsula, we meet a population who have had different experiences of the war so far - some barely touched by it, some deeply so - and the US forces are not universally welcomed. I won't try to explain the plots of each of these episodes, but suffice to say that they each have a potency that demonstrates quite well the ravages of war on both the victors and the losers - and it's not always immediately clear whom is whom! My personal favourite involves a young, homeless and streetwise scrounger who takes advantage of a sozzled soldier only to end up back in his war-torn hometown where the seizure of a pair of boots is rather put into context. There's some philosophy here, too. The sense that all are united against a common enemy until the fractured nature of human nature re-emerges, and things like religion start to re-impose a sometimes quite questionable dogma on a previously conjoined family of beliefs and opinions is effectively presented. These are six mini-adventures. One or two of them may deal more with the romantic or personal aspects of war, but all are delivered under a fairly constant threat from bullets and bombs that culminates well with a scenario that sort of offers us the wartime equivalent of snagging! The last few pockets of resistance to the advancing forces proving dangerously effective and highly tenacious. There's something intensely plausible about these dramatisations - the Italians all speak in their own tongue; the production uses intimate photography and grand scale cinematography as well as maintaining a palpable sense of menace throughout. This is certainly amongst the best of the genre.
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★ 9 / 10
Ironic, Neo-realist narrative of Italian-American interaction in WW II, proves way ahead of its time
Turfseer
Roberto Rossellini's Paisan is a groundbreaking film that diverges from his previous work in Rome Open City, delving into the complex interactions between…
Roberto Rossellini's Paisan is a groundbreaking film that diverges from his previous work in Rome Open City, delving into the complex interactions between American soldiers and Italians during World War II. This innovative film comprises six separate episodes, all connected by the recurring theme of miscommunication borne out of war and the resulting ironies that emerge when two vastly different cultures collide.
In the first episode, the devastating consequences of miscommunication become evident as an American reconnaissance patrol finds themselves in a small Sicilian village. With only one translator to navigate the conflicting voices, the Americans struggle to understand their reluctant Italian hosts. In this war-torn scenario, they enlist the help of Carmela, a local girl, as their guide. However, their interactions are fraught with challenges due to the language barrier.
Tragedy strikes when a German sniper kills Joe, a private from New Jersey, leaving Carmela distraught. The Germans occupy the castle where Joe and Carmela sought refuge, and in a heart-wrenching act of revenge, Carmela attempts to shoot at them but is captured and thrown off the cliffs. The ultimate miscommunication occurs when the Americans return and mistakenly conclude that Carmela was responsible for Joe's death, showcasing the grim irony and misunderstanding engendered by war.
The second episode unfolds in the port city of Naples and features an African-American actor, Dots Johnson, in a non-stereotyped role as Joe, an Army MP. Remarkably for its time (1946), the film portrays an African-American character in a "normal," non-offensive role, a rarity in cinema. Joe, battling the racism prevalent in the US, befriends a young street urchin named Pasquale. In a poignant revelation, Pasquale confesses that he does not want to return to America due to the racism he faced there.
The episode takes an ironic turn when Pasquale steals Joe's shoes while he is intoxicated. When Joe discovers the theft and confronts Pasquale, he learns that the young boy's parents were killed by allied bombs. Joe's epiphany leads him to empathize deeply with Pasquale's immense loss, putting his own struggles with racism into perspective. He eventually relinquishes his pursuit of the stolen shoes, understanding the magnitude of Pasquale's tragedy.
The third episode takes place in Rome, where G. I. Fred meets a prostitute named Francesca. As they share an intimate moment, Fred nostalgically reminisces about a woman he met six months prior when the Americans first liberated the city. Unbeknownst to Fred, the woman he fondly remembers is none other than Francesca herself. The irony unfolds as Francesca realizes that Fred does not recognize her as the same person, leading to a poignant and bittersweet revelation.
Moving on to the fourth episode, we witness two characters, American nurse Harriet and partisan Massimo, attempting to enter a besieged section of Florence, defended by partisans resisting the Germans. Harriet's motive is to reunite with the partisan leader Lupo, whom she has known in the past and may have feelings for. Massimo seeks to connect with his surviving family members. As they navigate the perilous streets, other partisans repeatedly advise them to turn back, highlighting the potential danger.
The irony of their quest becomes evident when, due to their single-minded pursuits, one of the partisans is shot and killed by a sniper. This tragic outcome results directly from Harriet and Massimo's insistence on fulfilling their personal desires, underlining the complexities of war and the unintended consequences of their actions.
In the fifth and perhaps most enigmatic episode, three US Army chaplains, representing Catholicism, Protestantism, and Judaism, visit a recently liberated Roman Catholic monastery. The Jewish chaplain observes the priests' detachment from the harsh realities of war, and their spirituality is tainted by petty prejudices, as they express shock at the presence of the Protestant and Jewish chaplains. During a meal, only the Americans eat, while the bigoted priests fast, hoping their non-Catholic guests will repent and convert.
Captain Bill Martin, the Catholic chaplain, surprisingly toasts his hosts, demonstrating forgiveness and admiration for their devotion to faith despite their narrow-mindedness. The episode delves into the complexities of religious and cultural divides amidst the backdrop of war.
Finally, the last episode poignantly echoes the first, where the Americans initially misread the Italians and arrive at erroneous conclusions due to suspicions and war-induced tensions. The Italians' collaboration with American OSS agents signifies a significant shift, as they now work together against a common enemy. Tragically, both the Italians and Americans face a show of solidarity in death, emphasizing the profound bond forged between them despite their differences.
Paisan is an absolute must-see film that masterfully blends documentary footage and Neo-realist storytelling to explore the intricate impact of war on communication and the profound connections formed amidst cultural disparities.
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ome, gonorrea, ome XD