Mon voyage en Italie

In the beginning and end of Mi Viaggio Di Italia (My Voyage to Italy), legend Martin Scorsese explains, in good reason, that the way to get people more interested in film is to share personal experiences of viewing particular ones that had some kind of impact for a movie-goer's experience (much like a friend telling another that a new movie is out, go see it, it's good, etc). Scorsese used a similar approach to his first cinema lesson- A Personal Journey Through American Movies- and like that one, it's a long, detailed, and deeply felt documentary. Sometimes when he talks about these movies you can tell he's so passionate about them, and it's a good approach.

First, Scorsese gives the viewer a feel of how he saw so many of these films from Italy- how he could go from seeing a Roy Rogers western in the theater and come home to watch a Rossellini series or a De Sica feature on TV- then, he goes through a comprehensive tale of the progression of the neo-realist movement, also mentioning the silent film epics, the tragic/comedies of the 50's, and how it progressed into the "new-wave" of Antonionni and Fellini in the early 60's. Like 'Personal Journey', it's long, possibly longer than the previous, and might not be watchable in one sitting (it's a two parter as I remember it from seeing it broadcast on TV). But for the avid movie-goer, fan of neo-realism, or someone wanting to get a glimpse of a better, smarter world in cinema in these days of cineplex garbage, it's a lenghty treat. A+

This is less a documentary than a visual diary of one man's selective view of Italian Cinema of the 50's & 60's. Of course, when that man is Martin Scorsese, it demands the attention of cineastes worldwide. In the introduction, one could assume that Scorsese will give a general view of the Italian films he saw as a child and as a young adult. But soon, he plunges into a hour plus mini-documentary of Roberto Rossellini. This is certainly understandable not only because Rossellini was a seminal Italian filmmaker, but because Scorsese in fact married into the family (via his ex Isabella). From there it's on to Visconti, De Sica, Fellini and Antonioni. And, that's about all. A few other filmmakers are touched upon briefly, but those five comprise the heart of the nearly 4 hour long film. Of course, rarely has a country given the world cinema a quintet as gifted as these five men. Still, it would have been illustrative if Scorsese had donated perhaps half and hour of the picture to a survey of the other Italian filmmakers of the era. These are mere quibbles, however. For no world class filmmaker (with the possible exception of Truffuat) has ever poured out so much emotion and depth of understanding for other directors as Scorsese has here. The portrayal of Rossellini in particular will be hard-pressed to ever be equaled - let alone surpassed. A demanding, yet essential film history.

MY VOYAGE TO ITALY (directed by Martin Scorsese) What is it that's so relaxing about Martin Scorsese's voice? I don't know. I've talked to a few different people and we all find his voice to be so comforting. Plus he's smart. I loved his contribution to BFI's 100 Years of Cinema (released in the states as "A Personal Journey") and I really love the documentary "Martin Scorsese Directs" from the American Masters series. I've watched them both over and over.

So now I can add another documentary to that list with "My Voyage To Italy". Studying the most important age in film worldwide, Neo Realism, he examines the main players and their major films in a way that is engaging without condescension or over-statistical, boredom. The guy really loves movies and he knows what's important.

His film history is just one of many alternative histories to the one championed by film critics static in their culture and prejudices. In writing about Rossellini, De Sica, Fellini and my hero Antonioni he writes about what he loves and what he sees as important. He even picks films that were seen as disasters financially and critically pointing out how their importance was more profound than such predictable criteria. For example, Rossellini's "Voyage To Italy" was a critical and financial failure but what championed by the Cahiers Du Cinema writers like Godard and Truffaut.

Scorcese's narration is smart and so loving that from anyone else you would think it pitiful. But in this situation, it's inspiring and just great storytelling.

Instead of doing commentary on the DVDs of his favorite Italian films, which he probably could do better than anyone else alive, being a masterfully adept teacher as well as the greatest working American director, Scorsese has decided to make his own film about them so he could relate them to his own development as a director. He relates how in the late '40s and early '50s, early Neo-Realist masterworks such as "Paisa" were shown often on New York area TV because of the large Italian-American population there, and what an indelible mark they made on him, a kid used to escapist Hollywood films. The films Scorsese's talking about, of course, are those of Rossellini, De Sica, Fellini, Visconti, and Antonioni. He leaves out some of the lesser known master directors such as Valerio Zurlini and Francesco Rossi, but does drop in a fascinating little visit to the beautifully dreamlike and nearly forgotten films of Alessandro Blasetti (1860, Fabiola) in his discussion of the common elements, born of a 2000 year old tradition, of Italian-made fantasy films and neo-realist films, as opposed to most Hollywood films.

Scorsese's sense of humor and eye for bizarre detail and the hilariously nuanced absurdities of some of these films are in top form throughout, and it's quite obvious from the get-go that he knows these films like the back of his hand. He's so passionate about these films that often his voice falters a little as you can hear him audibly moved to the point of tears in the voice-over!

The films he goes into in considerable detail are "ROME, OPEN CITY," "PAISA," "GERMANY: YEAR ZERO," "STROMBOLI," "AMORE," "ST. FRANCIS OF THE FLOWERS," "EUROPA 51," "VOYAGE TO ITALY," "SHOESHINE," "BICYCLE THIEF," "GOLD OF NAPLES," "OSSESSIONE," "LA TERRA TREMA," "SENSO" (Scorsese uses a breathtakingly beautiful restored print when discussing this technicolor Visconti film), "I VITELLONI" (the direct inspiration for "Mean Streets," as well as George Lucas' "American Graffitti"), "LA DOLCE VITA," "L'AVVENTURA," "THE ECLIPSE," and then closes the nearly 4 and half hour discussion with a brilliantly wide-scoped dissection of his favorite Italian film: "8-1/2."

I definitely enjoyed an evening watching Turner Classic Movies listening to Martin Scorsese discuss his appreciation and affection for many of the formative films of Italian cinema, particularly the neo-realism movement and the post-war works of Rossellini, De Sica, Fellini, Visconti and Antonioni. So personal is this documentary, that it was like spending an evening with a friend sharing a mutual interest; and for those with an interest in International cinema, this is a rare treat. My suggestion is to hunt down as many of these films as you can find on video, then view them on the biggest television you can find. Among the more obscure and brilliant works discussed are PAISAN, GERMANY-YEAR ZERO, OSSESSIONE, SENSO, L'ECLISSE and I VITELLONI; along with more popular masterpieces, OPEN CITY, BICYCLE THIEF, LA DOLCE VITA, EIGHT AND A HALF and L'AVVENTURA. Superb!