I bambini ci guardano

The story relates the disintegrating marriage of a bourgeois couple, indicated through their modern, spacious apartment and the housekeeper they employ. This distinguishes the film from the better known Italian neo realist works which typically take place against a backdrop of poverty and deprivation. The story is seen through the eyes of their young son, Prico.

Far more obscure than de Sica's other work, this is still nonetheless a classic because it endures, the story could take place just as easily today, with a few minor adjustments of clothing and details.

I don t agree this film is sentimental, it manages to stay just the right side of mawkishness. However, it still tugs at your heart strings, the child is just superb. The sign of a genius director that De Sica was able to manage the logistics of the crew, the equipment and coax this sort of performance out of a four year old.

This film put me in mind of Brief Encounter and it would be interesting to watch the two alongside. Both deal with infidelity and both are fantastically moving films.

The Criterion DVD is an excellent transfer. There are a couple of interviews on the disc and the accompanying sleeve notes are really informative.

Highly recommended.

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!

De Sica's first Neo-Realist film had been neglected over the years and, so, it was a surprise to see it being added to "The Criterion Collection". Ultimately, it's not up to his later more celebrated quartet - SHOESHINE (1946), THE BICYCLE THIEF (1948), MIRACLE IN MILAN (1951) and UMBERTO D (1952) - but, taken on its own modest merits, it's a reasonably effective work coming from an actor best-known for light fare!

As indicated by the title, the narrative is seen through the eyes of the sensitive young son of a working-class couple; the mother is having an affair and the boy is witness to - and the victim of - the inevitable disintegrating family ties, being bounced around from the household of one begrudging relative to another. The couple make a determined effort to stay together for the sake of the child (having to contend, besides, with the nosy and gossiping tenants of their condominium) - but the impetuous young man who has come between man and wife won't give her up so easily, and he finally manages to tear her from them for good. In desperation, the husband commits suicide…

The plot is pretty melodramatic and the film is infused with a good deal of sentimentality (there are plenty of close-ups of the boy weeping his heart out, for instance); clearly, De Sica's hand isn't confident as yet in juggling the various elements that comprise such slices-of-life - for one thing, he has used actors rather than the non-professionals who would come to serve him in good stead in his subsequent Neo-Realist classics. Even so, the three leading performances are undeniably excellent...while the film's real coup is to be found in its devastating - and truly uncompromising - conclusion.

This Italian melodrama concerns the effects on 4-year-old Prico (Luciano De Ambrosis) of his parents' dissolving marriage. His mother (Isa Pola) is having an affair, and is planning on abandoning the family, while Prico's father (Emilio Cigoli) seems powerless to fix the situation. Even when the mother's guilt from leaving her son becomes too much and a reconciliation is attempted, old passions rise up, all before the watchful eyes of young Prico.

On paper this sounds like something I'd detest, an overheated melodrama with a kid as the central focus. However, this is not the product of the American production code in which a little kid is just thrown into the proceedings to appease the censors. Instead, director De Sica manages to handle the story with finesse and style, and it ended up being one of the best movies that I've seen in a while. Young De Ambrosis is very good as the wide-eyed little boy, imbuing the proper sadness when needed. The supporting performances are all good, and much of their inner lives and motivations are left up to the viewer to figure out, as things are seen from the child's point of view.

The camerawork is also noteworthy, with a few striking scenes, such as the camera moving lithely through a crowded hotel dining room, or a series of dramatic close-ups late in the film. The powerful ending is moving and memorable.

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.