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Paisan (1946)
"Paisà" (original title)

 -  Drama  -  29 March 1948 (USA)
7.8
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Ratings: 7.8/10 from 3,674 users  
Reviews: 31 user | 30 critic

Attraverso sei episodi distinti ed indipendenti uno dall'altro, il film rievoca l'avanzata delle truppe alleate in Italia. Il primo parla di un episodio dello sbarco in Sicilia : una ... See full summary »

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Title: Paisan (1946)

Paisan (1946) on IMDb 7.8/10

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Nominated for 1 Oscar. Another 10 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Carmela Sazio ...
Carmela (episode I: Sicilia)
Robert Van Loon ...
Joe, the American soldier (episode I: Sicilia)
Benjamin Emanuel ...
An American soldier (episode I: Sicilia)
Raymond Campbell ...
An American soldier (episode I: Sicilia)
Harold Wagner ...
Harry, a German soldier (episode I: Sicilia)
Albert Heinze ...
A German soldier (episode I: Sicilia)
Merlin Berth ...
Merlin, an American soldier (episode I: Sicilia)
Mats Carlson ...
Swede, an American soldier (episode I: Sicilia)
Leonard Parrish ...
An American soldier (episode I: Sicilia) (as Leonard Penish)
Dots Johnson ...
Joe - the American MP (episode II: Napoli) (as Dots M. Johnson)
Alfonsino Pasca ...
Pasquale (episode II: Napoli) (as Alfonsino)
Maria Michi ...
Francesca (episode III: Roma)
Gar Moore ...
Fred, an American soldier (episode III: Roma)
Harriet Medin ...
Harriet, the nurse (episode IV: Firenze) (as Harriet White)
Renzo Avanzo ...
Massimo (episode IV: Firenze)
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Storyline

Attraverso sei episodi distinti ed indipendenti uno dall'altro, il film rievoca l'avanzata delle truppe alleate in Italia. Il primo parla di un episodio dello sbarco in Sicilia : una ragazza siciliana fraternizza con un soldato americana. Entrambi sono uccisi dai tedeschi, ma gli americani la crederanno una traditrice. Poi ci troviamo a Napoli, protagonisti un soldato nero ed uno scugnizzo napoletano, che gli ruba le scarpe. Il terzo episodio si svolge a Roma, dove una ragazza, costretta dalla fame a prostituirsi, ritrova il soldato americano che la aveva messa incinta, ma lui non vorr' incontrarla. A Firenze, una infermiera inglese vaga per la citt' martoriata alla ricerca di un partigiano che ama. Il quinto si svolge in un piccolo convento, dove tre monaci di differenti professioni sono ospitati dai monaci locali. L'ultimo esalta la coraggiosa opera dei partigiani italiani, spesso vittime dei nazisti, nelle paludi della Valle Padana. Written by rosebud6

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

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Release Date:

29 March 1948 (USA)  »

Also Known As:

Paisan  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(restored)

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The film is divided in six episodes simply called 'Episode I', 'Episode II' etc. The action of the six different stories takes place, respectively, in Sicily (Episode I), Naples (Episode II), Rome (Episode III), Florence (Episode IV), a monastery in the Appenine Range (Episode V), Porte Tolle in the Po delta (Episode VI). See more »

Goofs

During night a GI lights up his lighter while following the rocky path through the lava canal. A flashlight might have been used in order to help increase the effect of the lighter being lit. When the soldier closes the lighter, the spot projected by the flashlight remains on for a fraction of a second, which is enough to observe the synchronization issue. See more »

Connections

Edited into Good Morning, Night (2003) See more »

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User Reviews

 
At times devastating, at times with a little faith- Paisa is Rossellini's neo-realist epic
27 January 2004 | by (United States) – See all my reviews

Now that I have seen all three films in Roberto Rossellini's 'post-war' trilogy (the others being the groundbreaking Open City and Germany Year-Zero), I think Paisa is the one that got to me the most. I knew when I saw clips of the film in Scorsese's My Voyage to Italy that it would have some level of promise, but I didn't know it could be this compelling. Divided up into six vignettes, Rossellini paints something of a historical document as much as a film- each one carries its own strengths (there may be a weakness here and there for some, though this may lend itself to the fact that the film has not been restored and is in dire need of new subtitles), and the documentary-type approach elevates characters and situations to the level of great tragedy. These may be fictionalized accounts, they may not be, but in telling these stories, getting them through to the audience at the time, they remain potent little notes in film history.

From vignette to vignette, the allied forces move their way upward from Sicily to northern Italy. Among them, I got struck by how frank the issues were being dealt with, and how levels of humanity and kindness crept their way in. For example, the story with the drunken black man who spends some time with a kid dealing in the black-market, this is an emotionally complex scene- a viewer won't know how it'll turn out in the first few minutes, but it unfolds precisely to the characters' natures. The story involving the soldiers spending time in the monastery was also powerfully simplistic in the way it dealt with the themes of faith and sacrifice (the later stems to the other vignettes). And there are numerous other moments and scenes that can stop you dead in your tracks- a young child that cries in one scene and a nurse braving enemy territory had my mouth open.

I realize not that many people in my generation will seek out this film- notably since it's not easy to find except on-line- and certain scenes may seem too 'mushy' for some. However, there is worth to seeking out a work such as Paisa- in a sense, this and Rossellini's other early films were like the first independent films to Italy's claim. There isn't any sign in any of his post-war pictures that he's catering to studios or working on big budgets. These are stories being told with little money, non-professionals, and they definitely last years later after all the rubble was cleared. Maybe most remarkable is the way Rossellini and his writers (one of them Fellini) let things happen, and not without consequence or without logic of some sort. It's also a technically brilliant feature, with the cinematography by Otello Martelli creating shots as heart-rending as the performances. So, for those who hate dictated plots, sloppy clichés, and all the other disappointments found in 21st century movie-making & storytelling, this is a great place to dip your toes. If anything, it's surely thrilling as a war film.


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