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Paisà

  • 1946
  • B
  • 2h 6min
CALIFICACIÓN DE IMDb
7.6/10
10 k
TU CALIFICACIÓN
Dots Johnson and Alfonsino Pasca in Paisà (1946)
DramaWar

Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.

  • Dirección
    • Roberto Rossellini
  • Guionistas
    • Sergio Amidei
    • Federico Fellini
    • Klaus Mann
  • Elenco
    • Carmela Sazio
    • Gar Moore
    • William Tubbs
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.6/10
    10 k
    TU CALIFICACIÓN
    • Dirección
      • Roberto Rossellini
    • Guionistas
      • Sergio Amidei
      • Federico Fellini
      • Klaus Mann
    • Elenco
      • Carmela Sazio
      • Gar Moore
      • William Tubbs
    • 60Opiniones de los usuarios
    • 38Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Nominado a 1 premio Óscar
      • 10 premios ganados y 2 nominaciones en total

    Fotos41

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    Elenco principal34

    Editar
    Carmela Sazio
    Carmela Sazio
    • Carmela (episode I: Sicilia)
    Gar Moore
    Gar Moore
    • Fred - American Soldier (episode III: Roma)
    William Tubbs
    • Captain Bill Martin - Catholic Chaplain (episode V: Appennino Emiliano)
    • (as Bill Tubbs)
    Robert Van Loon
    • Joe - American Soldier (episode I: Sicilia)
    Benjamin Emanuel
    • American Soldier (episode I: Sicilia)
    Raymond Campbell
    • American Soldier (episode I: Sicilia)
    Harold Wagner
    • Harry, a German soldier (episode I: Sicilia)
    Albert Heinze
    • German Soldier (episode I: Sicilia)
    Merlin Berth
    • Merlin - American Soldier (episode I: Sicilia)
    Mats Carlson
    • Swede - American Soldier (episode I: Sicilia)
    Leonard Parrish
    • American Soldier (episode I: Sicilia)
    • (as Leonard Penish)
    Dots Johnson
    Dots Johnson
    • Joe - American MP (episode II: Napoli)
    • (as Dots. M. Johnson)
    Alfonsino Pasca
    • Pasquale (episode II: Napoli)
    • (as Alfonsino)
    Maria Michi
    Maria Michi
    • Francesca (episode III: Roma)
    Harriet Medin
    Harriet Medin
    • Harriet - Nurse (episode IV: Firenze)
    • (as Harriet White)
    Renzo Avanzo
    • Massimo (episode IV: Firenze)
    Dale Edmonds
    • Dale - OSS Agent (episode VI: Porto Tolle)
    John Whaling Allen
    • American Soldier (episode VI: Porto Tolle)
    • (as Allan)
    • Dirección
      • Roberto Rossellini
    • Guionistas
      • Sergio Amidei
      • Federico Fellini
      • Klaus Mann
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios60

    7.610.2K
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    Opiniones destacadas

    10Quinoa1984

    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.
    7gavin6942

    An Essential War Film

    Communication is fragile. A woman leads an Allied patrol through a mine field; she dies protecting a G.I., but the Yanks think she killed him. A street urchin steals shoes from a G.I. who tracks him to a shanty town. A G.I. meets a woman the day Rome is liberated; in six months they meet again: he's cynical, she's a prostitute. A US nurse braves the trip across the Arno into German fire in search of a partisan she loves. Three chaplains, including a Jew, call on a monastery north in the Apennines. Allied soldiers and partisans try to escape capture in the marshes of the Po.

    Rossellini engaged six writers, each of whom was to write one episode: Klaus Mann, Marcello Pagliero, Sergio Amidei, Federico Fellini, Alfred Hayes, and Vasco Pratolini. Each episode took place in a different location. The script notwithstanding, Rossellini often improvised with the actors and rewrote the stories as they were being filmed. For the first episode filmed in Sicily, Rossellini discarded the script and coached the non-professional, illiterate lead actress Carmela Sazio to a performance that received critical praise.

    I love the variety of views on World War II. What is especially interesting is how we start with the point of view of the Allies. For much of the war, Italy was not an Ally but was ruled by Mussolini, who gravitated towards Hitler. (Though Italy was the least "evil" of Germany, Japan and Italy.) So this film seemingly champions the recent enemy...
    8SnoopyStyle

    Six effective vignettes in the ruins of Italy

    It's six vignettes of the Allied invasion of Italy. There is humor, romance, poignancy, drama and most of all there is tragedy. Together the six stories stitch together a mosaic that is hopefully as enduring as one of the great artwork of history.

    An American recon squad enters a Sicilian village. One of them comes from a Sicilian background. Local girl Carmela guides them past German mines taking shelter in an old ruin. Joe stays with Carmela as the rest of the squad explores and they are surprised by a small squad of Germans. Carmela Sazio is very stiff as an actress. She's an amateur and there's value in that. However her character has a lot of emoting to do and she has trouble doing it.

    A group of street performing kids in Naples find drunken negro soldier Joe. Pasquale takes him around and they have an adventure. The poor kid steals from him. He turns out to be an MP and later he finds Pasquale. He is angry and drags Pasquale back home. The poverty of his home convinces Joe to leave him the boots. The kids are terrific and in this case, it's unlikely to get better actor than this amateur kid.

    In a liberated Rome, American GI Fred spends the night with prostitute Francesca. He has been searching for a woman he met 6 months ago and she realizes that she's actually that woman. This is a great story but I'm not sure it's set up right. It would be great to see them 6 months earlier.

    Half of Florence is liberated. All but one bridge has been blown and the partisans are struggling against the Germans. American nurse Harriet is desperate to get across to find her love. She is joined by Massimo looking for his family. The location shoot of them sneaking around an abandoned Florence is amazing.

    A monastery escapes damage from the war and is visited by three American chaplains. Catholic Captain Bill Martin translates but the monks are shocked to find the other two are a Protestant and a Jew. The monks intent on converting the two disbelievers.

    It's the closing stage of the war in Europe, American OSS and Italian partisans are struggling behind German lines in the Po delta. Supplies are dwindling and the fight is deadly. They rescue two downed British airmen. They are ambushed and captured. This is the most brutal of the stories and it ends the movie with its most brutal scenes.
    9ErinKan214

    A Great Representation of Film & Italian History

    Having seen "The Bicycle Thieves" I was aware of Italian Neo-Realism as a film movement. The film is divided up into six sections with none of the stories crossing over to the other. I wished that the film was one cohesive story but I may have felt this way because of my previous viewing of "Bicycle Thieves." I have always liked the idea of Italian Neo-realism and its ability to capture stories in a realistic way. This is a really great example of an almost documentary style of filmmaking. The cities are real and so are the people. This makes the film more interesting to watch as it is in such a natural state. The characters in each story, particularly the sections that involve children were what moved me the most. Knowing that all of these stories most likely happened at some point makes this film very powerful to see. Even when I was reading previous reviews of the film, it was obvious that many people from other countries truly connected with this film because of how realistic it is. I am lucky enough to say I never experienced any of this turmoil but I can only imagine what kind of intensity the film would bring to my own life had I related to these characters. I would say this isn't my favorite representation of Italian Neo- realism but it is a great glimpse into the history of Italy as well as the history of cinema.
    8saffell

    A Fine Dramatic Representation of American Liberation in Italy

    This film was well done for what Rosselini had. Although I was never a fan of many of these films done with left-over soldiers and bad actors to show what real-life people were like, "Paisan" definitely shows the unity of people joined in a cause. Each episode of the American progress north through Italy the American/Italian relationship become a little more united. Until, finally, in the Po River Valley, the Americans and the Italians are almost indistinguishable from one another. It conveys a good message through a good medium.

    The on-location shooting was a plus, too. For people who have been to Firenze, Napoli, Sicilia, Roma, or any of the locations in this film, it is a stunning sight to see places you know crawling with Nazis and Allies struggling. It endows the movie with a sense of realism that it needs badly. It needs this realism because the acting is horrendous. Of course, the unskilled acting was supposed to convey more realism, but I think it detracts in actuality.

    If you are interested in history or Italy during the World War, see this film. It is a good representation of what life was like then, but beware that not everything could be represented ... so it is not all-inclusive. It is a long film, but anyone with an interest will enjoy it immensely, I think.

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      The monks in the fifth episode were authentic Franciscan monks from the Maiori convent, near Salerno.
    • Errores
      At approximately 1:36 (2:05 version), during Episode V, as the American Army Catholic Chaplain stands in the center of the screen discussing his two associate Army Chaplains (Protestant and Jewish) with the monks, you can see two individuals standing in the doorway behind them (they appear to be the other two Army Chaplains). In less than a minute, they suddenly disappear.
    • Citas

      Captain Bill Martin - the catholic chaplain (episode V: Appennino Emiliano): I've never examined their consciences. I've never discussed this with them. I've never asked them anything, because I never felt I could judge them. I know them too well. They're good friends. Perhaps you, here mind this peace, this atmosphere of serene meditation, consider me guilty. I don't feel guilty. My conscience is clear.

    • Versiones alternativas
      Originally premiered at the Venice Film Festival on September 8, 1946 in a longer cut (running 134 minutes). Later cut to 125 minutes. The 134 min. cut has been restored from material found at the Bundesarchiv-Filmarchiv in Berlin, Germany and has premiered at the 55th Venice Film Festival in 1998.
    • Conexiones
      Edited into Il sasso in bocca (1970)
    • Bandas sonoras
      Nobody Knows the Trouble I've Seen
      (uncredited)

      Traditional

      Performed by Dots Johnson

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    Preguntas Frecuentes

    • How long is Paisan?
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    Detalles

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    • Fecha de lanzamiento
      • 12 de octubre de 1950 (México)
    • País de origen
      • Italia
    • Idiomas
      • Italiano
      • Inglés
      • Alemán
      • Siciliano
      • Latín
    • También se conoce como
      • Paisan
    • Locaciones de filmación
      • Uffizi Gallery, Florencia, Toscana, Italia(episode IV: Firenze)
    • Productoras
      • Organizzazione Film Internazionali (OFI)
      • Foreign Film Productions
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total a nivel mundial
      • USD 967
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    Especificaciones técnicas

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    • Tiempo de ejecución
      2 horas 6 minutos
    • Color
      • Black and White
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.37 : 1

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