Arnheim also talked about how camera angle and placement can be used to elicit effect and said that filmmakers make decisions about which angles to show us and that we as viewers create meaning from the angles we’re shown: “If I wish to photograph a cube, it is not enough for me to bring the object within range of my camera. His father -- a vehement anti-fascist -- is elderly and bedridden due to illness, and his brother -- an unregistered ex-Nazi in hiding -- can’t claim food stamps. It was a title that stumped even Joseph Burstyn and Arthur Mayer, the American producers of Rome Open City and Paisan, and the fact that Rossellini, characteristically trusting his instincts, refused to say what he meant by it eventually encouraged them to back out of the project, which was largely financed by the French government. At worst, he may overload the motivations for Edmund to poison his father and the melodramatic villainy of two predatory pederasts, but these might ultimately be considered more flaws in his dramaturgy than humanistic failures. But even when Rossellini later tried to formulate what drove him to make the film—in its dedication to the memory of his son Romano (who died in 1946, at the age of nine, after emergency surgery for an inflamed appendix), or in a statement prefacing its international versions—he tended to contradict himself. Rossellini’s film spends very little of its 73-minute runtime addressing historical fact and instead uses a focused perspective and symbolism to explore the dangers of fascist ideologies on one German family. … Germany Year Zero is a daring, gut-wrenching look at the consequences of fascism, for society and the individual. Echoes of Rossellini’s approach to filmmaking are still felt in movements around the world, from China to Iran to South America to the United States. It’s easy to see how a leveling title that references a leveled country would form a major template for Jean-Luc Godard—cropping up most clearly in his hour-long 1991 film commemorating the collapse of the Berlin Wall, Germany Year 90 Nine Zero, but already fully evident in his earlier, Maoist-inspired notion, expressed most famously in La Chinoise (1967), to rebuild society “from zero” (that is to say, from the ground up). Mr. Henning, in listening to Edmund’s troubles, spreads Nazi tenets about the “survival of the fittest” and “letting the weak be destroyed.” He even sends Edmund off with vinyl recordings of Hitler’s speeches to sell on the black market to earn a bit for himself. Instead, through a focused perspective and acting that expresses the lasting complexities of war, we see a child and his father as victims, “a bleak or unexpectedly tragic ending, and the depiction of death as unredeemed and meaningless.” When the final scene comes, with Edmund walking through rubble -- a building levelled by war -- we know there will be no chance to rid ourselves of the sense of desperation the film leaves behind. After making films under Mussolini’s fascist regime early in his career, Rossellini broke out with Rome Open City, a shattering and vivid chronicle of the Nazi occupation of Italy’s capital, followed by Paisan and Germany Year Zero, which round out his “war trilogy.” Rossellini’s adulterous affair with Ingrid Bergman led to the biggest controversy of his career (they were both condemned by the United States Senate) but also to another trilogy—Stromboli, Europa ’51, and Voyage to Italy, all starring Bergman and all about spiritual crises; they were dismissed at the time of their release but are widely praised now. The very title of the film offers not so much a documentary fact as a subjective reading of a documentary fact: not just a city and a … But this was, of course, a conviction that carried plenty of aesthetic and intellectual, as well as spiritual, consequences, including some that we’re still mulling over today.
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