Paisan

1946 [ITALIAN]

Drama / War

4
IMDb Rating 7.7 10 7251

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Synopsis


Uploaded By: FREEMAN
October 30, 2020 at 06:39 PM

Cast

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1.23 GB
1280*566
Telugu 2.0
NR
24 fps
2 hr 17 min
P/S 1 / 1
2.29 GB
1920*848
Telugu 2.0
NR
24 fps
2 hr 17 min
P/S 1 / 5

Movie Reviews

Reviewed by Nazi_Fighter_David 7 / 10

Rossellini: An important figure in the development of the cinema..

Often dismissed as a founder of Italian Neo-Realism whose career degenerated either at the start or the end of his much publicized relationship with Ingrid Bergman, Roberto Rossellini remains one of the most underrated directors in cinema history...

Exploring the links between fiction and documentary, observation and education, and the individual and society, he was an important figure in the development of the cinema...

Rossellini said of the film: 'In Paisá there were two worlds which came into contact, each with a different psychology and mental structure. From this contact was born a great confusion; so much so that in the end there were neither victors nor vanquished, there remained only the everyday heroism of the man who clings to life. And who lives, despite everything, whether he is one of the victors or one of the vanquished.'

Rossellini followed 'Rome Open City' with the equally impressive Paisá, whose six, often barely dramatic stories of part-comic, part tragic encounters between Italians, Germans and liberating Americans were rooted in specific locations (the Po Valley, the Uffizi Gallery), but were universal in their portrait of an entire nation destroyed and divided by war...

Already Rossellini's taste for long, mobile takes in long shot (rather than montage and close-up) gave evidence of his desire to relate individuals to the world around them...

In using a number of non-professional cast, and combining them with his improvisatory techniques, Rossellini get an universally acclaimed human document of rare quality and compassion...

Georges Sadoul wrote that Rossellini had 'damned the horrors that war had brought to his country and his heart cry was emotionally and enthusiastically understood around the entire world.'

Reviewed by Quinoa1984 10 / 10

At times devastating, at times with a little faith- Paisa is Rossellini's neo-realist epic

Now that I have seen all three films in Roberto Rossellini's 'post-war' trilogy (the others being the groundbreaking Open City and Germany Year-Zero), I think Paisa is the one that got to me the most. I knew when I saw clips of the film in Scorsese's My Voyage to Italy that it would have some level of promise, but I didn't know it could be this compelling. Divided up into six vignettes, Rossellini paints something of a historical document as much as a film- each one carries its own strengths (there may be a weakness here and there for some, though this may lend itself to the fact that the film has not been restored and is in dire need of new subtitles), and the documentary-type approach elevates characters and situations to the level of great tragedy. These may be fictionalized accounts, they may not be, but in telling these stories, getting them through to the audience at the time, they remain potent little notes in film history.

From vignette to vignette, the allied forces move their way upward from Sicily to northern Italy. Among them, I got struck by how frank the issues were being dealt with, and how levels of humanity and kindness crept their way in. For example, the story with the drunken black man who spends some time with a kid dealing in the black-market, this is an emotionally complex scene- a viewer won't know how it'll turn out in the first few minutes, but it unfolds precisely to the characters' natures. The story involving the soldiers spending time in the monastery was also powerfully simplistic in the way it dealt with the themes of faith and sacrifice (the later stems to the other vignettes). And there are numerous other moments and scenes that can stop you dead in your tracks- a young child that cries in one scene and a nurse braving enemy territory had my mouth open.

I realize not that many people in my generation will seek out this film- notably since it's not easy to find except on-line- and certain scenes may seem too 'mushy' for some. However, there is worth to seeking out a work such as Paisa- in a sense, this and Rossellini's other early films were like the first independent films to Italy's claim. There isn't any sign in any of his post-war pictures that he's catering to studios or working on big budgets. These are stories being told with little money, non-professionals, and they definitely last years later after all the rubble was cleared. Maybe most remarkable is the way Rossellini and his writers (one of them Fellini) let things happen, and not without consequence or without logic of some sort.

It's also a technically brilliant feature, with the cinematography by Otello Martelli creating shots as heart-rending as the performances. So, for those who hate dictated plots, sloppy clichés, and all the other disappointments found in 21st century movie-making & storytelling, this is a great place to dip your toes. If anything, it's surely thrilling as a war film.

Reviewed by Teyss 10 / 10

Rossellini's masterpiece. A reference in War genre

"Paisa" is part of a WWII trilogy shot just after the war, together with "Rome, Open City" (1945) and "Germany Year Zero" (1948), each depicting a specific episode of WWII: respectively the conquest of Italy by the Allies, the occupation of Rome by the Germans and post-war Berlin. "Paisa" is not only the best of the three, it is Rossellini's masterpiece, an essential Neo-Realism movie and a major Italian classic. For the anecdote, "paisa" is an informal word meaning "countryman".

HUMANITY

Although this movie is about Italy's campaign at the end of WWII, it only briefly deals with its important moments: the Allied landing in Sicily, the battle of Monte Cassino, the Gothic line battle. These are just summarised with archive footage between the main scenes. Interestingly, it does not even mention other critical moments: the downfall of Mussolini, his escape, his brief so-called "republic", his final downfall and execution, the invasion of Italy by the German army, the deportation of Jews, etc.

This because the movie shows war at human level: how war and its aftermath impacts people's lives and values; also, it revolves around the relationship between Italians and Americans. It is not a "war movie" in the generally accepted sense, but rather "humane stories during war".

DOCUFICTION

To illustrate different aspects, it shows six scenes as the Allies progress north through Italy's landmarks. Three scenes occur during the battles (1, 4, 6) and three afterwards (2, 3, 5). Remarkably, the movie avoids the pitfall of many "vignette movies", namely the sensation of watching different shorts instead of a full-length picture: "Paisa" maintains a thematic and aesthetic unity throughout. At the same time, each scene has its own specific interest, which enhances the unique character of the movie.

Aesthetically, it combines documentary and fictional styles, in a ground-breaking manner for the period. Every scene begins with archive footage: when fiction starts, it seems a continuation of archives. Also, as in a documentary, shooting is sober, stories are simple, themes are realistic. However, Rossellini introduces at carefully chosen moments fictional elements to enhance the dramatic impact of each scene: music, lighting, offbeat humour, surprising actions. The latter notably include: the Italian girl turns against the Germans (1); the GI first does not recognise the boy who stole his shoes (2); the GI does not recognise the woman he fell in love with six months before (3); a woman and a wounded man manage to pass the fighting line (4); the entire scene in the monastery feels out of this world (5); a small group of partisans resist the German army (6).

HUMOUR

Humour is another key element. It is tricky to introduce humour in a war movie, but Rossellini succeeds in order to avoid an altogether too tragic tone. The entire scene in the monastery (5) is humorous, which is acceptable because at that stage the war in the region is over and the monks do not have to face too tragic consequences, as opposed to the scenes in Naples (2) and Rome (3). The tone is satirical (the monks are nervous because a Jew and a Protestant are within their walls), but at the same time we understand how they feel. Another hilarious part, albeit much shorter, is the incredible dialogue between British officers (4): they are looking at the fighting from far away and talk in a phlegmatic manner as if the war did not exist.

This humour partly balances the overall tragic tone of the movie: killings, poverty, cruelty. Tones are hence balanced between dark (1, 6), light (5), or both (2, 3, 4). Irony, this dark form of humour, is constant: the GIs think the girl shot their companion, while she tried to avenge him (1); the GI cannot get his shoes back (2); the GI thinks the woman he fell in love with is just another prostitute (3); the nurse crosses the line to find a man who is actually dead (4); the monks are tolerant up to a point (5). Irony in the last scene is subtler. Many scenes contain a touching speech by an American: the GI tries to talk to the Italian girl (1); the GI dreams of glory (2); the GI regrets the good spirits during liberation (3); the chaplain confesses he found peace of mind (5). However, the only speech in the last scene is the dreadful propaganda from the German officer about destruction and new order. This is highly ironic: it opposes the previous humane speeches; also, it was obvious in winter 1944 that Germany had lost the war and Nazism was utter barbarity.

ETHICS

On top of death and destruction, war brings moral decay. People know what they are doing is wrong, but they have no choice: the GIs force the girl to help them (1); "Don't sleep else I will steal your shoes", the orphan warns the GI (2); the prostitute regrets the time when she was respectable (3); by crossing the fighting line, the man looking for his family gets a partisan shot (4); by asking for food in a house, the partisans expose its inhabitants to severe revenge from the Germans (6). Because deep down, people are decent and try to help each other: the girl turns against the Germans because she was touched by the GI trying to talk to her (1); the GI pities the orphan's misery (2); the usherette allows the prostitute inside without paying to escape the police (3); the partisans let the two civilians pass despite the risks for their cause (4); the peasants feed the partisans despite the risks (6).

Hence the movie is mostly tragic with an optimistic message: after the war, hopefully a better world will emerge based on people's humanity that was temporarily crushed. Italians collaborators and German Nazis are seldom shown: they belong to the past. Symbolically, communication progressively improves between Italians and Allies during the movie: from impossible conversation (1, 2) to limited dialogue (3), to eventually efficient coordination (4, 5, 6). The last shot simply but beautifully illustrates hope: after a dramatic close-up on partisans thrown into the water, the camera moves up towards the horizon and the voice that previously described fierce battles announces the war will soon be over.

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