Les enfants nous regardent...

"The Children Are Watching Us" (1944) was the first film De Sica made in collaboration with the screenwriter Cesare Zavattini with whom he later made most of his films. The film works well as a sentimental introduction to his oeuvre. Already its title refers to De Sica's favorite subject of childhood which he studied all his life. In this film, he immerses into the realm of the child's gaze.

Although all the ingredients for a banal melodrama are present, De Sica eludes them with elegance. He does this precisely by focusing on the subject of childhood and, most importantly, on the child protagonist, his subjective experience and feelings of abandonment. Some may consider the adult characters of this divorce drama thin or black and white, and while this may be true, it is perfectly justified just as well because De Sica defines them by the child's point of view. Thus they are characterized by his mental distinctions, images and emotions.

As a matter of fact, the theme of watching is a leading idea in "The Children Are Watching Us". Throughout the film the protagonist observes his environment: the animals, the city, the puppet theater, the urban movement and, above all, the grown-ups. Not only is the familiar idea of the child's blaming gaze present but also his way of learning by imitation. A certain climax of this theme of watching can be seen in the scene where the boy and his father remain quiet, but experience a moment of understanding which De Sica depicts only by using extreme close-ups of their honest faces.

To go further in the analysis of the title, it should be noted that it is in plural, although there is really just one child, thus suggesting a more universal, moral message. The title is especially associated with the blaming gaze; that is to say, the child's ability to judge us by approval and disapproval. This is equivalent with the philosophy of De Sica's masterpiece "Bicycle Thieves" (1948) where a child character is used as a moral observer or, should I say, the protagonist's moral conscience.

In fact, a film historian Peter Bondanella has well noted that Roberto Rossellini's manifesto film of Italian neo-realism, "Rome, Open City" (1945) established children as the symbol for the future of Italy as a nation. This is evident in many films from the era and especially in De Sica's "Shoeshine" (1946) where boys must kneel down before American soldiers to shine their shoes. Although "The Children Are Watching Us" is completely free from such political thought as a sentimental drama, it gains its sadness from precisely similar elements "Shoeshine" does. In other words, the child protagonist feels emotionally helpless in a situation he doesn't understand, but what makes this even more poignant is the child's awareness of this situation; that is, of his own helplessness.

THE CHILDREN ARE WATCHING US might be our favorite De Sica film and one of our favorite Italian films of all time. It portrays with delicate sympathy the suffering of a child whose parents are separated because of the mother's love affair with another man. While the husband and wife are perfectly portrayed, by Emilio Cigoli and Isa Pola, the film belongs to little Luciano De Ambrosis as the five-year-old Prico'. His performance, which runs the gamut of joy, anguish, and sickly fear, staggers us. But of course it was director De Sica who was to work miracles later with the child actors of SHOE SHINE and THE BICYCLE THIEF. The conclusion to this heartbreaking film is no less unforgettable than those of De Sica's better-known masterpieces. It is one of the most indispensable of movies from Italy's fascist era. And it is shamefully unknown today.

Luckily, this movie came on Turner Classic Movies a few years ago and I had the opportunity to see it.

Since then, I have searched for reviews and couldn't find one; it's nice to see that other people have seen this de Sica masterpiece. ;) I was beginning to wonder if I was the only American to see this.

If you have seen it, how can you not love this? As I said, I saw this a few years ago - and only saw it once - yet, there are so many images in my head as I think of the film. The story is heart-wrenching. I cried when I watched it. {blushing}

This film made me a fan of neo-realism. It also was the impetus for me to watch more of de Sica's films and then those of Rossellini and Fellini.

A terrific 'tear-jerker' which SHOULD NOT BE MISSED if you ever get the chance. You'll have missed something very special if you miss it!

Once in a great while, a child actor and a director are perfectly matched so that the child delivers an indelible performance that etches itself firmly into film history, as Jean-Pierre Leaud did for Truffault in The 400 Blows, or Haley Joel Osment accomplished for Shamalyan in The Sixth Sense; The child Luciano De Ambrosis performs with an incredible sensitivity to the insensitive adults around him, a mother and father who search for their own bliss while forgetting their child's well-being. Because it was released during WWII in Italy, DeSica's early effort did not receive the kudos it deserved, but deserves to rank in the pantheon with Bicycle Thief and Umberto D; it's a simple story of learning bitter lessons, with a memorable, well-defined sense of time and atmosphere.

An unbelievably great film made a year before Visconti's "Ossessione" which is often wrongly considered the first official neo-realist film. It's a bit melodramatic in parts but filled with scene after scene of immortal, poignant truths not only about the way a child sees adults but the way everyone sees everyone else in reality and in the 'real world' where purity of soul and honesty matters and is always heroic, where as Pascal wrote, man's greatness is so obvious it can even be deduced from his wretchedness. This extremely fleeting 'real world' is never fixed but nevertheless always there in some essence or another waiting to be discovered and 'captured' underneath a thousand and one veils. Neo-realism provided techniques for snaring those elusive essences better. And these techniques have endured to this day, where the sons of the sons of neo-realist films from all around the world are instantly recognized as valuable and given acclaim (most recently a slew of impressive films from Iranian directors). Even if De Sica hadn't gone on to make "Shoeshine," "Bicycle Thief," and "Umberto D" he already had enough in this one little film to earn respect as one of the supreme artists of the 20th century.