Umberto D.

An elderly retired civil servant in Rome is about to be forced onto the streets due to the loss of his pension, with only his little dog to comfort him. I'm not even a dog lover and this movie STILL got to me. I rented this on video when I was in high school and my mom ended up watching it with me. The ending (which I won't spoil for those who haven't seen it yet) is the only time I can remember when we have both been crying at the same time during a movie. This is truly a beautiful film and I have to see again soon.

This is storytelling at its simplest and most beautiful. An old man - his sole companion, a dog - tries to survive on a fixed, tight income while being mistreated by his landlady.

DeSica brilliantly captures the despair of his protagonist and makes this film unforgettably powerful. This film deserves to be seen by everyone, not just those who enjoy foreign-language films.

This film is touching, memorable and manages to draw us into Umberto's life without ever becoming maudlin. The denouement is heartbreaking, but the film never lapses into sentimentality. "Umberto D" truly is one of the greatest films ever made.

This touching story of a poor man in Italy after the war. The director, De Sica has also done the masterpiece "The bicycle thief". A very good and simple film that almost perfectly shows his fight to live a decent life his last years. The end is VERY sad(still I felt it had some hope). A highly recommended film. Also Carlo Battisti's performance is masterful. 9/10

Vittorio DeSica's wonderful "Umberto D" was one of the last films of the Italian neo-realism movement and by far its best one. It is also one of my favorite movies ever. The movie's premise is simple: it is a slice of the life of a poor lonely pensioner, Umberto. Throughout the movie, we see Umberto struggle to find money to pay rent to his horrible landlady, love his dog Flike, and deal with the loneliness and disillusionment of the postwar era.

"Umberto D" is a character-driven film. It works very well because of its sharp observations on loneliness and poignant gestures. The gestures evoke powerful feelings without necessitating dialogue. Many of the scenes, even the ones that do not necessarily advance the plot, are hypnotically beautiful in their simplicity. Take, for example, a beautiful scene where Umberto finally needs to beg for money but cannot physically bring himself to do it. He extends his palm up, but when a passer-by stops to give him money, Umberto quickly flips his hand over, as if testing for rain. The film is full of these small gestures that quietly emphasize the desperate loneliness and poignancy of Umberto's situation.

The acting in this film is absolutely superb. Carlo Battisti, despite having never acted before, is wonderful as the titular character; his face is a fascinating blend of stubborn dignity and weariness of life. Maria Pia-Casilio, who plays the maid, is just as good as evoking life's loneliness and quiet desperation. The supporting cast is also very strong.

One of the very few criticisms I have heard of this film is that it is too sentimental and borderline sappy. While some scenes with Umberto and his dog Flike are sentimental, never is it "too" sentimental. DeSica knows how far he can push his film without making it sappy, and he wisely shows it as it is. Nothing feels forced. The subject material itself and the simplicity in which it is presented will bring tears. (If you don't cry in this movie, you need to have your heart professionally de-thawed.) But "Umberto D" is never dumbed down into sappiness and clichéd corniness. It is a very powerful film.

"Umberto D" is the masterpiece of the Italian neo-realist era. It's a rather bleak and very realistic movie, but it makes some fascinating commentary on the human condition, specifically the loneliness we face. Highly, highly recommended. 10/10.

This movie from director Vittoria de Sica is a heartbreaking story of a destitute pensioner named Umberto Ferrari and his pet dog. The pensioner cannot bring himself to tell anyone of his difficult existence or to ask for help. Set in post-war Italy of the 1940's and 50's, the neo-realist movies of this period with their on-location shooting show the grinding poverty of many people at the time. With this vivid background, we see some very tender moments in the story that illustrate the bond between the man and his dog. We also get a sense of the mood in Rome at the start as police break up a protest by pensioners fighting for a decent income. Other scenes take the viewer into a hospital where patients recite the Rosary from their beds, have lunch at a pasta diner and go home to a walk-up apartment. With Umberto pitted against his cold-hearted landlady, we see how his life is made almost unbearable. In fact, the movie is very sensitive in its depiction of this man, one of many elderly people who were by themselves with little money. In this case, the elderly man, played by Carlo Battista, has a reason for living because of his canine companion. De Sica used amateur actors and Battista was a university professor in Florence who has captured the essence of his character. De Sica made his mark as the foremost director of the neo-realist school of cinema and as an accomplished character actor in his own right. I noticed the dedication to Umberto DeSica, who was apparently his father. In this film, DeSica has certainly produced an outstanding work of art about the plight of one aged citizen in a particular time and place. Thanks to TCM for its recent showing this neo-realist classic.