Sciuscia

Since I enrolled in International Cinema at my university, I've had the opportunity to see classic foreign films in the theatre, and it's really opened me up to the genre. I'd have to say that this movie (Shoeshine, in English) struck me as one of the most powerful I've seen yet, a sad, bleak commentary on children's lives in postwar Italy. Shoeshine dealswith a pair of children living on the street, best friends who shine shoes for a living and whose greatest dream is to buy a horse, something they could actually take care of and call their own. Pasquale, the older boy, and Giuseppe, the younger, are drawn into a situation they don't quite understand the weight of. Not knowing that the Italian society is chaotic after the war (when children under ten years old are put into prison for crimes like vagrancy), Pasquale and Giuseppe are coerced into doing a favor for Giuseppe's brother, Attilio Filipucci -- they are to bring and sell smuggled American blankets to a lady fortune-teller for the Filipucci family's profit.

Without warning, police appear at the fortune-teller's house, and question her. The boys are paid not to say anything, and are paid just enough to pool their money and buy the horse. Unfortunately, the fortune-teller has the boys taken from the street and into police custody, where, though claiming not to know anything, are fingerprinted and thrown into a juvenile prison. The prison and events that occur in it force the best friends apart, and the previously light-hearted story turns ugly. The boys' environment corrupts them, and innocence is quickly lost.

Directed by the famous Vittorio De Sica, and with Cesare Zavattini doing his trademark poetic screenplay, Shoeshine definitely deserves its place as one of the first foreign films to with the Oscar of the same name. The Neo-realist De Sica does include some comic relief in the movie, and it's not all serious and depressing... The line from Giuseppe to Pasquale as they're walking up a flight of stairs, "Elevators sure are great," and Pasquale's answer of "Yes, I slept in one for quite a while," is one example.

To say any more would give away the story, and you simply must experience this classic for yourselves. My rating: 9/10.

Heartfelt stuff from De Sica once again this time capturing the lives of two young shoeshine boys working the streets of wartime Rome scrimping and scraping for family and the dream of owning a horse, soon trouble comes there way after being caught selling black market goods and the pair end up in a juvenile detention center, from here the friendship becomes broken as the two become separated and told different things from there cellmates, its all handled perfectly from the loyalty to the bitter feeling of betrayal and the whole sadness of the situation that these lost boys experience which is brilliantly played all the way through right to its gut-punch ending, performance-wise the kids are great and all do a fantastic job considering they are all first-time actors it also claims of being one of the earliest in the Italian neorealist movement, once again this is pure magic from De Sica and the film is rightly considered to be his first masterpiece.

Just two years before Vittorio De Sica changed the world with The Bicycle Thieves (1948), the universally famous actor/director made a small, simple and beautiful movie by the name of Shoeshine (1946). Taking place in war ravaged Italy, the film features the stories of two young shoeshine boys who are tasked with delivering black market goods and get caught in a web of intrigue. Once they are caught by the police, their friendship is challenged when they're sent to an overcrowded boy's penitentiary.

The majority of the film takes place in the penitentiary where the two boys (Franco Interlenghi and Rinaldo Smordoni) are separated from each other almost instantly. Forced into separate cells each holding five boys, they become the center of their own maelstroms when one mistakenly betrays the other. I won't ruin the whole picture other than mentioning that the main source of motivation early on is a horse they bought together.

The period sets the tone for the film. Despite a bouncy score that highlights every small victory experienced by the characters, the lack of sustenance and poor conditions of life in and out of the penitentiary keeps things gloomy. The boys eat gruel which the warden calls "passable", medical help is slow and ineffective and beds are riddled with lice. Even one of the more kind-hearted superiors finds objection to the state of things. Yet at one point one of the boys calls his new home "paradise" because of its only slightly better living standard than sleeping in an elevator.

The film is considered one of the first Italian neorealist works which would leave an indelible mark on Italian cinema and movies worldwide. The form contends with economic hardship and moral denigration as a canvas. Many times they would shoot in and around the streets of Italian cities and even hire non-professional actors to intensify the realism. Often this was for practical reasons. The aftermath of World War Two left the film industry (previously under the close watch of Mussolini) unable to maintain their studios.

The Bicycle Thieves stands as the pinnacle of Italian neo-realism but for my money Shoeshine is the better movie. Both stories are quite compelling but from an outsider's perspective, the multiple Italian customs and the research required to understand them are much more-a- plenty in Bicycle Thieves. Additionally the main characters of Shoeshine are children no older than twelve. While in many cases this would be a slight when comparing one movie to another, the actors in Shoeshine act much more authentically to their predicament. There is one scene where the boys trot a horse down the street as the other shoeshine boys either cheer in zeal, or jeer in jealousy. They preen and strut like they're the talk of the town, the belle of the ball, or to put another way; two poor kids with a horse. How can you not smile at that image?

There is a famous review of Shoeshine by the famous Pauline Kael where she mentions a "… petulant voice of a college girl complaining to her boyfriend, 'well, I don't see what was so special about that movie.'" She then claimed alienation from those who could not experience "the radiance of Shoeshine." In many ways I feel the same about it. If you're not effected by De Sica's first classic then you're not fully human.

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Sciuscia, or Shoeshine, tells a tragedy involving two boys, Pasquale and Giuseppe, both of whom try and make money from shining shoes, and also in dealing with black market goods. They hope to buy a horse one day (a wonderful opening shot of a horse running fast gets this point across since this is at its core a film of adolescence), but complications involving Giuseppe's older brother and gang land the two boys in jail just as they have enough for the horse. The film then deals with the boys in the reformatory/prison, over-crowded with conniving, shady influences as cell-mates, as well as the people who run the prison. To tell anymore of the plot would ruin it for the viewer who would go out of his way to find this - it's near impossible to find, which is a shame since The Bicycle Thief and Umberto D. are readily available in most stores and rentals - and it's enough to say that much of the film relies more on character than story. Because the director's dealing with a group of near total unknowns, they come first.

This film, by Vittorio De Sica, was made very soon after the War had decimated the country he lived in. He didn't just want to make this movie, he had to- these characters are as real as their backdrop, a country still in the aftermath of a fascist state of affairs, and since the film deals with children there's all the more emotion to it. The only, very minor liability in the film is that the drama in the material isn't as simple and everyday as DeSica's later, more famous efforts; if it was under different direction it could've become a forgettable tearjerker. But the tragedies of these characters, Pasquale and Giuseppe, is splendid in the humanity that they feel, as it unfolds, and by the end it rings as true as any other given neo-realist effort of the late 40's and early 50's. Shoeshine is one of those rarities that may give a tear-jerker to someone who isn't expecting one, and I mean that as a compliment. Note, if you find this tape, it may be rather grainy and slightly shifty in frame, and the subtitles aren't complete- not to downplay the worth of the film in and of itself, however.

After Umberto D. and The Bicycle Thieves, I was loving Vittorio De Sica. His neo-realism films are heartbreaking and ring true to the human spirit. He almost has a free pass to make my top directors list, I just got to fill his next 3 spots. In retrospect, Shoeshine has brilliant plotting and characterisation. It takes emotionally motivated turns and has well constructed cruel ironies. Unfortunately, it struggles with its execution. It's not as tightly edited or shot as his two later films, often making scenes confusing and key plot points are missed. The score and performances, of which I recognise are from amateurs, can be too melodramatic. Its atmosphere ends up feeling inauthentic. Umberto and Bicycle were great for their subdued portrayals of inner pain, I wish Shoeshine was the same. I would love to rank this film among those two as its screenplay is really great but both the crew in front and behind camera let it down. Still has a punch though and gets more engaging as it goes along. Great decision to have most of the film take place in that great set of a juvenile prison.

7/10