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Umberto D. ( pronounced [umˈbɛrto di]) is a 1952 Italian neorealist film directed by Vittorio De Sica. Most of the actors were non-professional, including Carlo Battisti who plays the title role of Umberto Domenico Ferrari, a poor elderly man in Rome who is desperately trying to keep his rented room.
Mar 10, 2009 · Rated. Unrated. Runtime. 89 min. Release Date. 01/20/1952. Vittorio De Sica’s Umberto D. envelops us in a seemingly futile search for dignity, within a hopeless, unsympathetic world almost incapable of recompense and riddled by indifference toward the individual. Presenting a sentimental version of Italian neorealism, the cinematic movement ...
Aug 9, 2021 · A classic Italian neorealism film that captures humanity in times of despair. "Umberto D." is realistic and 60-years-later, many can still feel compassion for Umberto because those emotions still run strong, as poverty is still a major problem today. Wonderful performances from the non-professional actors and director Vittorio Di Spica and ...
Apr 28, 2002 · Even its scenes involving Umberto's little dog are told without the sentimentality that pets often bring into stories. Umberto loves the dog and the dog loves him because that is the nature of the bond between dogs and men, and both try to live up to their side of the contract. The film is told without false drama.
Aug 18, 2022 · Umberto Domenico Ferari (Umberto D. for short) is a lonely old man, cold, uncommunicative, clinging to his ingrained bourgeois standards of behaviour and dress in spite of his inability to pay the rent at a cheap lodging house. His only friends are a pet dog and the maid at the lodging house, who is pregnant by a soldier.
Umberto D.: Directed by Vittorio De Sica. With Carlo Battisti, Maria Pia Casilio, Lina Gennari, Ileana Simova. An elderly man and his dog struggle to survive on his government pension in Rome.
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Jan 6, 2023 · Umberto D. is powerful because the story doesn’t focus as much on its characters’ suffering as it does on their dogged attempts to cling on to dignity in the face of poverty and despair. The maid cries to herself about her misfortune in life for only a brief moment, then gets back to work; as soon as she hears a knock at the door, she wipes away her tears and dutifully greets her guests.
