Paisà

1946
B
2h 6min

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Dots Johnson and Alfonsino Pasca in Paisà (1946)

Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.Las barreras lingüísticas tienen consecuencias trágicas en una serie de historias sin relación ambientadas durante una campaña italiana en la segunda guerra mundial.

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7.6/10

9.9 k

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Nominado a 1 premio Óscar
- 10 premios ganados y 2 nominaciones en total

Trivia
The monks in the fifth episode were authentic Franciscan monks from the Maiori convent, near Salerno.

Errores
At approximately 1:36 (2:05 version), during Episode V, as the American Army Catholic Chaplain stands in the center of the screen discussing his two associate Army Chaplains (Protestant and Jewish) with the monks, you can see two individuals standing in the doorway behind them (they appear to be the other two Army Chaplains). In less than a minute, they suddenly disappear.

Citas
Captain Bill Martin - the catholic chaplain (episode V: Appennino Emiliano): I've never examined their consciences. I've never discussed this with them. I've never asked them anything, because I never felt I could judge them. I know them too well. They're good friends. Perhaps you, here mind this peace, this atmosphere of serene meditation, consider me guilty. I don't feel guilty. My conscience is clear.

Versiones alternativas
Originally premiered at the Venice Film Festival on September 8, 1946 in a longer cut (running 134 minutes). Later cut to 125 minutes. The 134 min. cut has been restored from material found at the Bundesarchiv-Filmarchiv in Berlin, Germany and has premiered at the 55th Venice Film Festival in 1998.

Conexiones
Edited into Il sasso in bocca (1970)

Bandas sonoras
Nobody Knows the Trouble I've Seen
(uncredited)
Traditional
Performed by Dots Johnson

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Opinión

Opinión destacada

Neorealism at its best

Just when you thought that the cinema form had lost its capacity to carry an important social message without the use of artsy-fartsy rethoric, there comes "Paisà"; a masterpiece for the ages. Rosselini is a name that must be spoken of in all schools and universities of the world. His ability (combined to a perfect script) to convey emotional meaning in film with the use of non-professional actors, natural locations, and still be able to make it VIBRANT and EXCITING... it´s uncanny. The power of the stories told in "Paisà", although very distant in time and geography (for me, anyways) compells any intelligent human being to stand up against every kind of dictatorship and violence. On top of all that, Rosselini doesn´t use cheap tricks to win the public´s heart through melodramatics. His films are very down-to-earth and often take a distance from their main characters, which helps our rational analysis of the situation without being blinded by passion. Like Brecht used to do, i think.

All six stories are my favorites, but I particularly like the monastery segment. It portrays religious prejudice by christian monks towards two priests, one jewish and another a lutheran, right in the middle of the war. To the absurdity of all, the monks come to the priests´ companion, a Christian, to make them realize "the true path". One more time, Rosselini doesn´t end the segment with lessons of moral; its ending is very ambiguous and ironic. "Paisà" is a gem; i like it better than "Roma, Città Aperta", also a masterpiece of neorealism.