Umberto D.

Enough has been said about this wonderful movie already and I'm not going to repeat what others have written at length except to say that I've just come to this film totally unprepared and now feel emotionally shattered. I've watched it as the 44th movie in a collection of 50 so-called art-house films in a DVD collection from Criterion. These allegedly "essential" movies are presented alphabetically and that is how I've viewed them, so it's taken me quite some time to get to the letter U. If I'd started with this De Sica classic I may have felt disinclined to watch any of the others!

Indeed, in a lifetime of over 50 years of watching movies - everything from the truly execrable to the totally inspirational - this is the first and only film I've ever sought to review on this site. I know there are a few detractors out there on the message-boards who cannot see beyond their own cynicism, but I pity them. This movie remains timeless, as potent as when it was made in 1952. You don't have to be old, you don't have to be a dog-lover (although it helps), and you certainly don't have to be a fan of neo-realist Italian cinema. All you have to be is a good human being. Watching this movie is a sort of 'humanity test' and thankfully most of the reviewers here have passed it.

I'm sorry, "Cinema Paradiso", you've just been relegated to Second Best Foreign Film.

Who among us doesn't fear that one day he or she will meet the fate of Umberto D., a pensioner who discovers that he can't scrape together enough money in order to live? A retiree, such as myself, doesn't have to reside in ravaged, dehumanized, postwar Rome to witness the dreaded nightmare of outliving his or her finances and, even worse, the worry about our dog's fate if we are no longer able to provide the homes that they need? So why do I love this film so much when it causes me so much personal trepidation about my own future--and that of my precious best friend?

Aside from a very talented Napoleone, who plays the dog Flike for all but two dog scenes and manages to steal the show in the process, the two main human actors, Carlo Battisti and Maria Pia Casilio, both remarkably appearing as amateurs, are superb, which is a triumph in itself for the film's accomplished director, Vittorio de Sica. The photography of post-World War II Rome by G.R. Aldo, combined with the highly dramatic music of prolific film composer Alessandro Cicognini, completes the recipe for an outstanding cinematic success that has withstood the test of time. The striking image of Maria standing at the window as Umberto departs in the tram will remain with me for the rest of my life. This film is not only about the relationship of a man and his faithful little dog but about the love between Maria and Umberto in a world that seems to be totally void of compassion.

There are too many memorable scenes in this film to describe in one review, but the one segment that leaves an indelible mark on me is the instance when little Flike, for good reason, momentarily loses faith in his human companion, but I won't reveal any other information about the scene. If that situation alone doesn't deeply move you, I don't know what will.

One doesn't have to be in an advanced stage of life, such as myself, in order to fall in love with this movie. Umberto D's plight is one that should resonate with moviegoers of all ages and economic conditions. Hardship to the point of desperation could happen to any of us at any time. I have learned from adversity that nothing is ever guaranteed, so appreciate all that you have today, don't forget to kiss your precious, little doggie goodnight, and never lose your best friend's trust, not even for a brief moment in time. It will break your heart.

Vittorio De Sica once remarked that why should film makers go in search of extraordinary events when in the course of their daily lives they are confronted with ordinary events of extraordinary beauty.This statement sums best the very essence of this Neorealist classic. Umberto D directed by the master Italian filmmaker Vittorio De Sica is a sad albeit ordinary tale of the loss of human values in Italian society after the end of second world war.Everything about the leading character Umberto D is told in an ordinary indeed prosaic manner.It is rather bizarre but mention must also be made of the poor light in which women characters have been shown.This is due to the fact that in Umberto D,both the grumpy landlady and unmarried pregnant girl representing loss of moral values are women characters directly associated with the old man.The great thing about Umberto D is its canine protagonist named Flike who serves his master so well that he even prepares to die for his master's sake.In Umberto D, by showing a faithful dog who remains loyal to his old master,Vittorio De Sica has rightly depicted that animals are more truthful than some human beings.

A sad but at the same time, touching and meaningful, movie like few I have seen, I came across this gem in the cable today. But instead other movies which use all kind of possible gestures to invoke the tears of the public, this movie is a real show of humanity like I've hardly seen before.

Geez, 50 years after, this movie has not dated in its subject of loneliness and aging. In the age of selfishness, a simple display of profound human feelings like this is completely necessary.

Would hope everyone was ready to appreciate this magnificent piece of Human Art. Thanks, Vittorio.

Vittorio DeSica's wonderful "Umberto D" was one of the last films of the Italian neo-realism movement and by far its best one. It is also one of my favorite movies ever. The movie's premise is simple: it is a slice of the life of a poor lonely pensioner, Umberto. Throughout the movie, we see Umberto struggle to find money to pay rent to his horrible landlady, love his dog Flike, and deal with the loneliness and disillusionment of the postwar era.

"Umberto D" is a character-driven film. It works very well because of its sharp observations on loneliness and poignant gestures. The gestures evoke powerful feelings without necessitating dialogue. Many of the scenes, even the ones that do not necessarily advance the plot, are hypnotically beautiful in their simplicity. Take, for example, a beautiful scene where Umberto finally needs to beg for money but cannot physically bring himself to do it. He extends his palm up, but when a passer-by stops to give him money, Umberto quickly flips his hand over, as if testing for rain. The film is full of these small gestures that quietly emphasize the desperate loneliness and poignancy of Umberto's situation.

The acting in this film is absolutely superb. Carlo Battisti, despite having never acted before, is wonderful as the titular character; his face is a fascinating blend of stubborn dignity and weariness of life. Maria Pia-Casilio, who plays the maid, is just as good as evoking life's loneliness and quiet desperation. The supporting cast is also very strong.

One of the very few criticisms I have heard of this film is that it is too sentimental and borderline sappy. While some scenes with Umberto and his dog Flike are sentimental, never is it "too" sentimental. DeSica knows how far he can push his film without making it sappy, and he wisely shows it as it is. Nothing feels forced. The subject material itself and the simplicity in which it is presented will bring tears. (If you don't cry in this movie, you need to have your heart professionally de-thawed.) But "Umberto D" is never dumbed down into sappiness and clichéd corniness. It is a very powerful film.

"Umberto D" is the masterpiece of the Italian neo-realist era. It's a rather bleak and very realistic movie, but it makes some fascinating commentary on the human condition, specifically the loneliness we face. Highly, highly recommended. 10/10.