Europa '51 (Collector's Edition) (2 Dvd)
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Dopo la morte del figlio non ancora adolescente, suicidatosi perché si sentiva trascurato, la moglie di un uomo d’affari (Ingrid Bergman) decide di dedicare la sua esistenza ad alleviare le sofferenze del prossimo. Il suo comportamento risulta destabilizzante e incomprensibile agli occhi della famiglia e degli amici al punto che il marito, per soffocare lo scandalo, la fa internare in una clinica psichiatrica.
Irene Girard, moglie di un diplomatico straniero, vive felice a fianco del marito. Il suo tenore di vita è del tutto normale e corrisponde alle abitudini delle donne della sua classe, ma, improvvisamente, un tragico avvenimento viene a sconvolgere la sua esistenza. Il suo unico figliolo dodicenne muore in seguito ad un tentativo di suicidio: risulta che il piccolo si credeva trascurato dai genitori. Questo dramma doloroso provoca nell'animo d'Irene una violenta crisi...
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Nell' ambiente <ricco borghese > si evidenzia la superficialità e l'egoismo dei sentimenti delle persone a latere della protagonista . Conta una vita di apparenza e la necessità di consolidare la rispettabilità della famiglia, nucleo chiuso e da mantenere in difesa. Non bisogna confondere i ruoli Ognuno al suo posto.
Un film che può insegnare ancora qualcosa.Per comprendere come siamo ora. bisogna conoscere la storia.
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It's not that the script or direction or other production values of EUROPA 51 are "better" than THE VISIT, it's Bergman's characterization that is, in a word...remarkable. At first I started making a lot of assumptions of where the film & Bergman's characterization would inevitably lead; but then I could clearly see just how much Ingrid Bergman offered of herself in the role.
The film opens with a less than original plot: wealthy & socially prominent American wife living abroad (Italy) while not exactly ignoring her young son, is less than responsive to his needs...and danger signals he's putting out. The situation is compounded by her husband's coldness & restrictive conventionality. Disaster ensues & Bergman's "mother" arrives on the scene & in her way is even worse than the husband in her ability to help her increasingly unstable daughter. The only person who does seem to connect with Bergman's character is a wealthy Marxist-Leninist (!) He introduces Bergman to people living in a poor & crime infested sector of Rome. It is at this point that Bergman begins to draw away from ideology as she becomes increasingly involved in the serious & life-threatening problems of the residents.
It is also at this juncture that I began to see the depth & intimacy Bergman was bestowing to the role. A rather maudlin & predictable story begins to transform into something intensely true & almost cruelly beautiful...something like Leonard Cohen's exquisite ballad JOAN OF ARC. As she begins to appear as something like an Evita figure, her family & the conventional people around her try to change her into something they can feel comfortable with...and when this fails, they abandon & consign her to a mental hospital. Bergman seems to acquiesce with this fate, becoming even more famous or notorious for her evident saintly qualities.
At the end of the story her family has completely abandoned her, her Marxist friend fades out of the picture after she tells him that his appeals to violence can never lead to anything helpful, and a priest who had befriended her likewise draws away when his appeals to God are not reciprocated. In the final scene, a group of the poor whose life's she's touched with her compassion stand below her barred window, praying to their new Saint. The last image is Bergman's face looking down at them through the bars, her face beautiful, sad, compassionate--and? There is another, indefinable expression.
Is it madness?
Maybe only Ingrid Bergman really knew.
PS. Cohen's JOAN OF ARC ends with this verse:
I saw her wince, I saw her cry
I saw the glory in her eye
Myself, I long for love & light
But must it come so cruel, must it shine so bright?
The Inn of the Sixth Happiness
Autumn Sonata - Criterion Collection
Subtitles: Italian, Mandarin Chinese, Spanish
then the EDITORIAL REVIEW is misleading:
Audio: Spanish, Italian / Subtitles: English, Spanish, Simp. and Trad. Chinese
NOW the Audio part is CORRECT: ITALIAN and SPANISH sound options. But the SUBTITLE naming ENGLISH is NOT CORRECT. There is NO ENGLISH SUBTITLES on this Disc, do not make the same mistake I made thinking that it has ENGLISH OPTION. Luckily I know SPANISH, and this DVD will stay in my collection.
Europa '51 (1952) / Ingrid Bergman, Alexander Knox
Europa '51 (1952) / REGION FREE DVD / Audio: Spanish, Italian / Subtitles: Spanish,
Simp. and Trad. Chinese / Actor: Ingrid Bergman, Alexander Knox, Ettore Giannini, Teresa Pellati,
Giulietta Masina / Director: Roberto Rossellini
Europa '51 (also known as The Greatest Love) is a 1952 Italian neorealist film directed by Roberto Rossellini, starring Ingrid Bergman and Alexander Knox.
Long fascinated by Francis of Assisi, Roberto Rossellini decided to create a film that placed a person of the saint's character in post-war Italy and showed what the consequences would be.
Irene (Bergman) and George Girard (Knox) are a wealthy couple living in post-war Rome with their son Michele (Sandro Franchina). During a dinner party, Michele constantly tries to get his mother's attention, but Irene is more interested in being a good hostess to her guests than being an attentive mother. As a result, Michele attempts suicide by falling through a stairwell several stories, fracturing his hip.
At the hospital, Irene promises to never leave Michele and to be more attentive, but he dies soon after from a blood clot. Irene is bedridden for 10 days, before enlisting the help of Andrea Casatti (Ettore Giannini) to help her overcome her grief. Being a Communist, he takes her to the poorer parts of Rome and leads her into donating her time and money to help people there. While there, she gives the money for a boy's medical treatment, helps a woman with six children to find a job at a factory (where she has a life changing experience working for a day in order to fill in for the woman), and cares for a woman who is dying of tuberculosis.
As a result of helping these people, she spends less and less time at home. Her husband comes to the conclusion that she is having an affair with Andrea, which causes her to leave him. In addition, she is picked up by the police after helping a boy who had committed a theft evade arrest (she had told him to turn himself in).
While in custody, the husband and the authorities decide to put her in a mental institution. At the end of the film, she is up for review on whether she would stay there permanently with the result being that her philosophy of helping people was dangerous for the fragile post-war society. Therefore, she becomes a permanent member of the institution.