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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 3,610 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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(story), (story), 8 more credits »
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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 & 2 nominations. 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

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Language:

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Release Date:

29 March 1948 (USA)  »

Also Known As:

Paisan  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

(restored)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The film project started in 1945 as a collection of seven stories of American soldiers after their landing on Sicily, and their relationships with Italian people. In December 1945, it was announced on the newspapers as "Sette Americani". 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

Featured in Fejezetek a film történetéböl: A neorealizmus (1990) See more »

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User Reviews

 
Rossellini: An important figure in the development of the cinema..
21 September 2002 | by (Mexico) – See all my reviews

Often dismissed as a founder of Italian Neo-Realism whose career degenerated either at the start or the end of his much publicized relationship with Ingrid Bergman, Roberto Rossellini remains one of the most underrated directors in cinema history...

Exploring the links between fiction and documentary, observation and education, and the individual and society, he was an important figure in the development of the cinema...

Rossellini said of the film: 'In Paisá there were two worlds which came into contact, each with a different psychology and mental structure. From this contact was born a great confusion; so much so that in the end there were neither victors nor vanquished, there remained only the everyday heroism of the man who clings to life. And who lives, despite everything, whether he is one of the victors or one of the vanquished.'

Rossellini followed 'Rome Open City' with the equally impressive Paisá, whose six, often barely dramatic stories of part-comic, part tragic encounters between Italians, Germans and liberating Americans were rooted in specific locations (the Po Valley, the Uffizi Gallery), but were universal in their portrait of an entire nation destroyed and divided by war...

Already Rossellini's taste for long, mobile takes in long shot (rather than montage and close-up) gave evidence of his desire to relate individuals to the world around them...

In using a number of non-professional cast, and combining them with his improvisatory techniques, Rossellini get an universally acclaimed human document of rare quality and compassion...

Georges Sadoul wrote that Rossellini had 'damned the horrors that war had brought to his country and his heart cry was emotionally and enthusiastically understood around the entire world.'


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