Exactly fifty years have passed since the death of this great actor and director, master of the neorealist genre that Pope Francis loved so much. Monsignor Dario Edoardo Viganò: neorealism teaches us to look at reality with new eyes
Amedeo Lomonaco – Vatican City
There are the names of the actors and directors who toured the world together with their films. The head of Vittorio de Sica, who died on 13 November 1974, is closely linked to neorealism, a way of thinking and filming that grew in Italy after the Second World War to depict reality and its problems by putting ordinary people in heart. The events of everyday life are portrayed in their authenticity on the big screen.
Photographs of post-war society
Vittorio De Sica’s very long acting career includes more than 150 films. The director’s head has been printed in 36 feature films. With his works this great master of the seventh art, who won four Oscars, wrote the history of Italian and world cinema. He was born in Sora in 1901, in the province of Frosinone, and in his work he shed light above all on the bitter and dramatic aspects of society by describing characters and landscapes in their true dimensions, placed in the difficult contexts of the plagues such as poverty and unemployment. . The film “Sketching”directed in 1946 and acted mainly by non-professional actors, it is the story of two old shoe boys who are placed on the fringes of the social fabric and lured by mirages of well-being. The historical film “ is also set in the post-war periodBicycle thieves”, which leads to a cross-section of life in Italy in the post-war period. The protagonist’s long, desperate walk in search of his bike sheds light on internal dramas and small battles. Another milestone of neorealism is the film “Finzi Contini Garden”, directed by Vittorio De Sica in 1970 and set in Ferrara during the period of the racist laws: it is the story of the decline of a Jewish family in a city now dominated by fascist thought.
The human values of De Sica’s work
Human values present in Christianity also emerge from De Sica’s cinematographic representation. With these words, on 22 December 1944, the Osservatore Romano reviewed the film “Heaven’s door”, produced by Catholic Action and filmed in 1944 in Rome, an “open city” occupied by the Germans. It is, writes the newspaper an Suí Naofa, a film “with great moral, artistic and technical effectiveness”. The film had been shown the night before at the Planetarium. Among the people present in the room, for that special screening organized close to the first Christmas in Rome after the liberation from Nazi-fascism, there were also Vittorio De Sica and the screenwriter Cesare Zavattini. But in the room, according to the news, among others, who was also present the representative then at the Secretariat of State, Giovanni Battista Montini.
Through children’s eyes
The years of the Second World War are the setting for another film that was also mentioned by Pope Francis. In the conversation taken from the book “The ray: the door of the heart. Neorealism between memory and current events” (Effatà Editrice) by Monsignor Dario Edoardo ViganòVice-Chancellor of the Pontifical Academy of Sciences and Social Sciences, the Pontiff expressly refers to the 1943 feature film “The kids look up to us.” “A film by Vittorio De Sica – it highlights the Pope – which I love to quote often because it is very beautiful and rich in meaning. In many films the neorealist view was the children’s view of the world: a clean view, capable of capturing everything, a clear view through which we can immediately and clearly recognize good and evil”. Vittorio De’s films are Sica, explains Monsignor Viganò to Vatican News, are still relevant and have a lot to teach.
Don Dario Viganò recalls that the films of De Sica, and especially the couple De Sica – Zavattini, “offer an opportunity for reflection, not only for the new generation but also for all of us, especially in this context marked by fear, wars, uncertainties” . “Heaven’s doorIt is also a real film because of the direct relationship established with the Holy See: Giovanni Battista Montini, who was working at the Secretariat of State at the time, “went twice to visit the staff, the director and screenwriter in San Paolo Outside the Walls”. This feature film emphasizes the Monsignor Viganò, does not surrender to the “miraculous vision of reality”, but the story of the pilgrimage to Loreto emphasizes “how the sharing of suffering allows everyone to bear theirs more easily”. Pope Francis understood the key to why neo-realist films are current and can be a “catechesis of humanity”. The universal value of neorealism, according to the Pontiff, “helps to renew our vision of the world”. “How many needs – says the Pope – today we must learn to look”. The main figure of neo-realism, according to Monsignor Viganò, is certainly Vittorio De Sica, a director with “a very remarkable eye”. Neorealism, as Francesco says, is the core: ”it teaches us to look at reality with new eyes”.
What are the key characteristics of neorealism in film, and how do they manifest in De Sica’s work?
Interview between the Time.news Editor and Monsignor Dario Edoardo Viganò, Expert on Neorealism
Editor: Thank you for joining us today, Monsignor Viganò. It is an honor to have you here, especially on the 50th anniversary of Vittorio De Sica’s passing. To start, can you share with us what makes De Sica such an iconic figure in the realm of neorealism?
Monsignor Viganò: Thank you for having me. Vittorio De Sica is indeed an iconic figure, not only for his extensive contributions to cinema but also for how his films reflect the very essence of neorealism. This genre emerged in Italy as a poignant response to the devastation of World War II. De Sica’s films engage with everyday life, portraying the struggles of ordinary people in their raw, unvarnished reality. This authenticity in storytelling resonates deeply with audiences, allowing them to connect emotionally with the characters’ journeys.
Editor: You mentioned the emotional connection in De Sica’s films. Can you expand on how his portrayal of ordinary life impacts viewers, especially during challenging times?
Monsignor Viganò: Absolutely. De Sica’s films, such as “Bicycle Thieves” and “Umberto D.,” tap into universal themes of poverty, family, and the pursuit of dignity. By depicting the harsh realities faced by his characters, he invites viewers to reflect on their own lives and the plight of those around them. This lens, which he often viewed through the eyes of children, offers a fresh perspective that is both hopeful and disconcerting. The purity of a child’s outlook allows the audience to see the struggle and resilience in a new light, reminding us of our shared humanity.
Editor: It’s interesting that you highlight the perspective of children in De Sica’s work. How do you think this approach influenced the moral and ethical lessons in his films?
Monsignor Viganò: The use of a child’s viewpoint acts as a moral compass. When children are presented with the complexities of good and evil, their innocence juxtaposes with the grim realities of adult life. In films like “The Children Look Up to Us,” De Sica illustrates the moral dilemmas faced by characters in wartime, highlighting themes of sacrifice, love, and integrity. Pope Francis, in his references to De Sica’s work, recognizes this clarity of vision as a means to navigate the moral intricacies of our world. It is a beautiful reminder that through a child’s understanding, we can rediscover the essence of compassion.
Editor: In your opinion, how does the neorealist approach remain relevant today, especially in our current social and political climate?
Monsignor Viganò: Neorealism invites us to confront reality with empathy and awareness. Today, we face various global challenges, including poverty, displacement, and injustice. De Sica’s films encourage us to observe these issues closely, fostering a sense of responsibility towards our fellow human beings. Moreover, they remind us of the power of storytelling in advocating for social change—an essential tool that can inspire action and promote compassion across communities.
Editor: As we reflect on De Sica’s legacy, what do you think is his most significant contribution to cinema and society?
Monsignor Viganò: I would say his most significant contribution lies in his ability to elevate the narrative of the marginalized. De Sica showed that cinema could be a platform for social critique without losing its artistic integrity. His films serve as historical documents that capture the human experience amidst adversity. They hold an enduring power to inspire discussions about morality, ethics, and the challenges that society continues to grapple with today.
Editor: Thank you, Monsignor Viganò, for sharing such insightful thoughts on Vittorio De Sica and the lasting impact of his work. It’s remarkable how neorealism continues to inform audiences and filmmakers alike.
Monsignor Viganò: Thank you for having me. It’s vital that we keep these conversations alive as we continue to explore the intersections of art, society, and humanity.