Europa '51

"Europa 51" may be the best of all the Bergman/Rosselini collaborations of the fifties,outshining such works as "Viaggio in Italia" or "Stromboli,terra de dio". There are two worlds in this god almighty universe:the one in which time is only a quiet river,and the one in which time is killing you.Irène (Bergman)belongs to the former one.Masina's character and Inès,the prostitute to the wrong side of town. When her son committed suicide,Irène was chatting,exchanging trivialities with her posh guests.Eaten with remorse,she realizes her taste for society life took the best of her and now it's too late!

One of her friends opens the gates of a then-unknown world for her:factories where men sweat ,streets where whores roam,slums where mothers strive to feed thir starving children.The man is a Marxist,and he tells Irene about a brand new world where justice and solidarity will be the golden rule.

However,Irene cannot subscribe to this ideology:"This world is not mine because it does not include Michel"-her late son".Beyond that point,the movie turns Christian;Marxist materialism cannot satisfy a desperate woman whose spiritual longing is intense.So she takes altruism to new limits,forgetting all about herself,becoming some kind of Mother Theresa.Christian,too Christian...Her family begins to think she 's lost her mind,and they locked her up in an insane asylum.

Is the ending optimistic or pessimistic?I would opt for the first epithet:behind her bars,Irène can see her new friends come and worship her as a saint.She's lost her wealth,but Michel's death was the beginning of an end for her.Through this redemption,she knows that now,this unfortunate boy forgave her

This is one of Bergman's unfairly forgotten performances.It is accessible and should appeal to a very large public.

Europa 51 has a big heart, this much is clear. It's a story where Rossellini and his collaborators want to pose a basic question: what does someone have to do, like literally do with their own hands and wills and TIME, actually taking time and energy out of their days, to make a difference for people? The question may be surrounded by an, arguably, heavy-handed set-up, where Ingrid Bergman plays an ambassador's wife in Italy, and their son, a bit of a spoiled mama's boy (or, no, maybe he's just the sensitive sort, you pick, but either way not dubbed particularly well), dies accidentally. Bergman's Irene can't stand herself for what has happened - all her time being a dilettante and not spending enough time with her son made this happen - and she can barely go on.

Someone, a friend who has Communist ties, tries to convince her that perhaps it's time to make a change amid this time of Societal Upheaval (in caps) as political sides are being more sharply drawn. She sees how people suffer, and a day at a factory basically makes her completely light-headed (a montage of images, if memory serves, makes this clear). She wants to help. Maybe if she puts her energies to positive use, to help others, she can... what, find some solace? Alleviate her guilt? Or that now she can't be a mother to her son - and there's not much effort between her and her husband to find love again - so why not be a Mother to others? It's a little more difficult than that, of course, which is the riding factor of conflict in the narrative.

Bergman plays this character with all of the beats just right. Early on in those first scenes with her and her son you might wonder whether the writing isn't totally clear - IS she being a bad mother, or is he just whining, or is it a little 'much' determining either, who knows - but she plays it just right, this woman in her life who has it all and doesn't have to worry about much. This includes hearing conversations about class struggles (this before she sees them first hand) and can barely comprehend it. How Bergman channels grief is even better, showing us a face that has the life totally drained out, and she is always *listening* as an actress too to what's around her, and is a strong listener which is key. Ironic then that many of these, almost all of them, are speaking Italian and are dubbed over - this includes Giuletta Masina, who plays a local housewife.

Not all of the writing is superb here, at least for me. It's surprisingly melodramatic in its last quarter as Irene is looked at as being completely crazy (possibly, borderline, criminal) in how she's helping these people, which includes keeping one man evading prosecution in her home. I have to wonder if this story could work today, though a filmmaker like Scorsese, one of Rossellini's disciples, sort of made his version with Bringing Out the Dead - a protagonist who is haunted by death and wants to make a difference. It is a very hard thing to be saintly, or just be a decent person when there are many, many indecent things and people that go about in this world, certainly in this context post-war, post-fascist-cum-Communist Italy.

There's a lot to digest here, even if some of it may come off as dated or simplistic. But, once again as with Stromboli, the combination of a director with a clear, very moral message, and an actress giving it her ALL (and it's a case where Bergman does give one of her best performances from this period, even if the film isn't), that you can watch it and be wrapped up in this woman's drama.

After filming stories about the resistance of the Italian people during the Fascist and Nazi regimes, and the story of a German child against the barren landscape of Berlin after the war, Roberto Rossellini made a movie about Francis of Assisi and started a love and work relationship with actress Ingrid Bergman. In his evolution to works like 'The Rise To Power of Louis XIV', he made a series of melodramas with Bergman, of which 'Stromboli' and 'Voyage To Italy' are always considered the most important. Add to that list this fine drama, in which bourgeois housewife Irene suffers a transformation when confronted with the misery of those who had not been benefited with the European 'economic miracle.' Considered a saint by those she helped (Giulietta Masina included), Rossellini makes quite obvious that Irene reached that state by detouring from the usual roads she took as the wife of a prominent industrialist (Alexander Knox.) Not only has she a Marxist cousin –who curiously does not preach his philosophy, but gives Irene advise whenever she talks about the misery she is discovering- but she also ventures into the slums, helps a single mother, a prostitute and a thief. The final section of the movie reminded me of 'María de mi corazón', a latter film written by Gabriel García Márquez, based on a real story. As in 'María…' there is neither opportunity nor chance to explain clearly what she's going through to husband or authorities, leading her to a dead end of desperation. Only sainthood will save her from the dehumanization around her.

EUROPA 51 is an odd film. Irene (Bergman) is the wife and mother in a rich family, in affluent surroundings. Hers seems a perfect world, but she is too self-centered to realize that her son needs attention and love.

EUROPA 51 reflects the situation in Europe in 1951, six years after the end of WW II. Work is scarce. poverty is rife, the impersonality of industry is overwhelming society, but against this general background some personal problems stick out: Irene focuses on being an adroit host and having her house spotlessly clean; her husband wrongly fears that she is cheating on him with a journalist; and their son feels ignored and throws himself down a staircase, with fatal consequences.

Irene feels very guilty about losing her son, moves away from home, and descends into the underworld of poverty, helping people in the process. This is where a memorable performance surfaces, by Giuletta Masina, the wife of famous Italian director Federico Fellini, who injects life into the whole movie, in contrast with Irene's increasingly quiet soul.

The fact that her own husband and circle of friends see her as approaching madness reflects the tragedy that tends to pursue the individual who dares to show feelings and concerns in relation to his/her fellow neighbor. In this case, Irene helps a number of people, takes genuine interest in their predicaments, but her reward is questionable: she sees her husband leave her behind the bars of a psychiatric ward, feeling intolerably lonely, but common people see her as a saint.

Ultimately, it is a film in equal measure wise and wayward. Perhaps I cannot avoid looking at it with 21st Century eyes, and I lack knowledge about the mindset of Italian society in the early 1950s. Still, I had a problem attaching credibility to this film.

That said, Bergman was never more physically stunning than in this film, and her acting is first class.

Director Rossellini shows steely determination driving forward this unusual film. Photography is quite good. Script is generally competent. Acting by Bergman and Masina is excellent, the rest of the cast, Knox included, does not shine so much.

The film's main flaw is that it is overlong by some 20 minutes, but any Rossellini-Bergman collaboration deserves attentive watching.

It's a bit melodramatic, but up until Irene's final conversation with Cassatti the Commie, *Europa '51* is a very interesting film, first about a pampered rich woman's reaction to her son's death, then about the difference between windy Marxist propaganda and real compassion.

However, at that point, Rossellini's original idea takes over: He wanted to make a film about what would happen if a truly saintly person ever showed up in the modern world. And he had a very good idea of what would happen--or at least a very insistent one. The people here obviously behave the way they do solely to make the point Rossellini wants to make, even when their behavior doesn't seem very plausible. In defter hands, such manipulation can work. Here, though, you can see the tracks Rossellini has rather clumsily laid down to move the story where he wants it to go.