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I bambini ci guardano (1944)

Not Rated | | Drama | 25 April 1947 (USA)
A four-year old boy, Pricò, becomes the subject of emotional folly by his fluctuant parents and inattentive relatives.

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Writers:

(novel), (screenplay) | 5 more credits »
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Cast

Cast overview, first billed only:
Emilio Cigoli ...
Andrea - il padre
Luciano De Ambrosis ...
Pricò
Isa Pola ...
Nina - la madre
Adriano Rimoldi ...
Roberto - l'amante di Nina
Giovanna Cigoli ...
Agnese - la governante
Jone Frigerio ...
La nonna (as Ione Frigerio)
Maria Gardena ...
La signora Uberti
Dina Perbellini ...
Zia Berelli
Nicoletta Parodi ...
Giuliana
Tecla Scarano ...
La signora Resta
Ernesto Calindri ...
Claudio
Olinto Cristina ...
Il rettore - The Chancellor
Mario Gallina ...
Il medico
Zaira La Fratta ...
Paolina
Armando Migliari ...
Il commendatore
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Storyline

The film follows the anguish of the four-year-old, Prico, after his mother, Nina, leaves his father, Andrea, for her lover Roberto. Prico is sent to his aunt and then to his grandmother. Nina returns when Prico is sick and vows to give up Roberto, even though he persists in seeing her. The family situation gradually improves until they take a holiday on the Italian Riviera. Written by Will Gilbert

Plot Summary | Plot Synopsis

Taglines:

A pulsating drama of childhood. See more »

Genres:

Drama

Certificate:

Not Rated
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Details

Country:

Language:

Release Date:

25 April 1947 (USA)  »

Also Known As:

The Little Martyr  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (cut) | (1980)

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Marcello Mastroianni was extra in this film See more »

Connections

Referenced in It Happened in '43 (1960) See more »

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User Reviews

 
The first Neo-Realist Masterpiece
29 December 2000 | by (Los Angeles, CA) – See all my reviews

An unbelievably great film made a year before Visconti's "Ossessione" which is often wrongly considered the first official neo-realist film. It's a bit melodramatic in parts but filled with scene after scene of immortal, poignant truths not only about the way a child sees adults but the way everyone sees everyone else in reality and in the 'real world' where purity of soul and honesty matters and is always heroic, where as Pascal wrote, man's greatness is so obvious it can even be deduced from his wretchedness. This extremely fleeting 'real world' is never fixed but nevertheless always there in some essence or another waiting to be discovered and 'captured' underneath a thousand and one veils. Neo-realism provided techniques for snaring those elusive essences better. And these techniques have endured to this day, where the sons of the sons of neo-realist films from all around the world are instantly recognized as valuable and given acclaim (most recently a slew of impressive films from Iranian directors). Even if De Sica hadn't gone on to make "Shoeshine," "Bicycle Thief," and "Umberto D" he already had enough in this one little film to earn respect as one of the supreme artists of the 20th century.


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