Police disperse an organized street demonstration of elderly men demanding a raise in their meager pensions. Discharged, he finds that his dog is gone and, following a frantic search, locates him in the city dog pound. ». Be the first to contribute! It may be the best of the Italian neorealist films--the one that is most simply itself, and does not reach for its effects or strain to make its message clear."[4]. La décision de mourir prise par un être jeune est chose grave, mais que dire du suicide d'un vieillard [...] ?
Mais, trop fier pour être vu en train de faire la manche, il semble prêt à mourir. « [...] L'unité du récit du film n'est pas l'épisode, l'évènement, le coup de théâtre, le caractère des protagonistes, elle est la succession des instants concrets de la vie, dont aucun ne peut être dit plus important que les autres ; leur égalité ontologique détruisant à son principe même la catégorie dramatique. Unsuccessful, he resolves that his dog must die with him and he stands in the path of a train, with his dog in his arms. Une société qui permet cela est une société perdue. C'est horrible.
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. He returns to his boarding house to himself without a place to stay and learns that his dog has run off. Flike goes to play with some children, and Umberto slips away, gambling that one of them will adopt him. L'observation semble ici une faculté étrangement vierge [...]. Or, le film eut une audience très limitée[1] et les milieux politiques italiens de cette époque ne l'encouragèrent point[2]. Umberto's lone friend is Maria, servant of the boarding house. Finally in desperation, Umberto takes the dog in his arms and walks on to a railway track as a speeding train approaches. She is three months pregnant, but is unsure which of two soldiers is the father, the tall one from Naples or the short one from Florence. One way he is able to achieve the latter is to parlay off of a case of tonsillitis. Still homeless and nearly penniless, Umberto scampers down the park lane with his dog. When he returns to the apartment, he finds workmen renovating the entire place. His only friends are his dog, a mutt named Flike, and Maria, the young, single maid who works in the house in which he's rented a room for twenty years.
The landlady refuses to accept partial payment. His landlady (Lina Gennari) is evicting him, and his only true friends, the housemaid (Maria-Pia Casilio) and his dog Flike (called 'Flag' in some subtitled versions of the film) are of no help. Umberto D. is a 1952 Italian neorealist film directed by Vittorio De Sica. He returns to his room, and finds that his landlady has rented it out for an hour to an amorous couple. Taglines She threatens to evict Ferrari at the end of the month if he cannot pay the overdue rent: fifteen thousand lire. Flike becomes frightened, wriggles free and flees. [1] The film's sets were designed by Virgilio Marchi.
Despite Umberto's attempt to abandon Flike, the dog finds him hiding under a footbridge. 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. Selon J. Lourcelles, il faut, à nouveau, louer la capacité de De Sica à s'identifier, avec tendresse, à ses héros. Il essaie de confier son chien à des personnes qu'il juge attentionnées mais, finalement, celui-ci demeure avec lui et l'empêche de se suicider en s'échappant de ses bras au moment fatidique.
himself taken to the hospital, there is no false crisis, no manufactured fear Umberto D is often considered Vittorio De Sica's masterpiece, the purest example of Cesare Zavattini's aesthetic, and most highly developed expression of this historic collaboration of director and screenwriter. Pour plus de détails, voir Fiche technique et Distribution. « Dans son apparente simplicité, c'est le plus riche des quatre films nés de la collaboration de De Sica-Zavattini », affirme, de son côté, Jacques Lourcelles[7]. |
Il essaie de confier son chien à des personnes qu'il juge attentionnées mais, finalement, celui-ci demeure … Umberto Ferrari, aged government-pensioner, attends a street demonstration held by his fellow pensioners. He contracts a sore throat, is admitted to a hospital and this puts a delay on his financial difficulty. Habitant avec son chien "Flyke" chez une logeuse intransigeante et pingre, il essaie de trouver les fonds nécessaires au paiement de son loyer. Umberto offers them money that he will die. Il part à sa recherche et le retrouve dans un chenil.
Vittorio De Sica - dont Umberto D fut « le film préféré » - pensait pourtant que « l'histoire de ce vieux retraité [...] et ses essais pathétiques et maladroits pour se réchauffer le cœur aurait une forme d'universalité propre à être comprise par tout un chacun. Umberto rushes to the city pound, and is relieved to find his dog. [2], In an interview where he discussed Diary of a Country Priest, Psycho and Citizen Kane, Ingmar Bergman is quoted as saying, "Umberto D. is... a movie I have seen a hundred times, that I may love most of all.
When Umberto's landlady Antonia demands the rent owed her and threatens eviction if she is not paid, Umberto tries desperately to raise the money by selling his books and watch. Meanwhile, the sympathetic maid confides in Umberto that she has her own problems. One of the marchers is Umberto D. Ferrari, a retired government worker. Feeling ill, Umberto gets himself admitted to a hospital; it turns out to be tonsillitis, and he is discharged after a few days. | While most pensioners decry the small amount of money from the government, most are unlike Umberto who is in debt, the pension unable to pay off those debts and provide a healthy life for him. The landlady is getting married. Parents Guide, Michael Brooke
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