IMDb > Paisan (1946)
Paisà
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Paisan (1946) More at IMDbPro »Paisà (original title)

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Overview

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7.8/10   3,675 votes »
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Director:
Writers:
Sergio Amidei (story) &
Klaus Mann (story) ...
(more)
Contact:
View company contact information for Paisan on IMDbPro.
Release Date:
29 March 1948 (USA) See more »
Genre:
Plot:
Attraverso sei episodi distinti ed indipendenti uno dall'altro, il film rievoca l'avanzata delle truppe alleate in Italia... See more » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 10 wins & 1 nomination See more »
NewsDesk:
(37 articles)
New on Video: ‘I vinti’
 (From SoundOnSight. 16 July 2014, 4:34 AM, PDT)

One of the Most Influential Films Ever Made at London's BFI Southbank
 (From Alt Film Guide. 10 March 2014, 8:30 PM, PDT)

Martin Scorsese's Top 10 Criterion Films
 (From Rope Of Silicon. 28 February 2014, 8:26 AM, PST)

User Reviews:
At times devastating, at times with a little faith- Paisa is Rossellini's neo-realist epic See more (31 total) »

Cast

  (in credits order) (complete, awaiting verification)
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)
William Tubbs ... Captain Bill Martin - the catholic chaplain (episode V: Appennino Emiliano) (as Bill Tubbs)
Dale Edmonds ... Dale - the OSS agent (episode VI: Porto Tolle)
Allan ... An American soldier (episode VI: Porto Tolle)
Dan ... An American soldier (episode VI: Porto Tolle)
Roberto Van Loel ... A German soldier (episode VI: Porto Tolle) (as Van Loel)
Cigolani ... A partisan (episode VI: Porto Tolle)
rest of cast listed alphabetically:
Giulio Panicali ... Narrator (voice)
Iride Belli ... A soldier (uncredited)
Lorena Berg ... Amalia (episode III: Roma) (uncredited)
Pippo Bonazzi ... A soldier (episode II: Napoli) (uncredited)
Gianfranco Corsini ... A partisan (episode IV: Firenze) (uncredited)
Fattori ... A soldier (uncredited)
Elmer Feldman ... Captain Feldman, the jewish chaplain (episode V: Appennino Emiliano) (uncredited)
Gigi Gori ... The dying partisan (episode IV: Firenze) (uncredited)
Newell Jones ... Captain Jones, the protestant chaplain (episode V: Appennino Emiliano) (uncredited)
Anthony La Penna ... Tony, an American Soldier (episode I) (uncredited)

Giulietta Masina ... The young woman on the palace stairs (episode IV: Firenze) (uncredited)
Carlo Pisacane ... The old man from Gela (episode I: Sicilia) (uncredited)

Directed by
Roberto Rossellini 
 
Writing credits
Sergio Amidei (story) (as S. Amidei) &
Klaus Mann (story) (as Klauss Mann) &
Federico Fellini (story) (as F. Fellini) &
Marcello Pagliero (story) (as M. Pagliero) &
Alfred Hayes (story) (as V. Hayes)

Sergio Amidei  screenplay and dialogue &
Federico Fellini  screenplay and dialogue &
Roberto Rossellini  screenplay and dialogue and
Rod E. Geiger  screenplay collaboration (as Rod Geiger)

Vasco Pratolini  story (uncredited)

Produced by
Rod E. Geiger .... producer
Roberto Rossellini .... producer
Mario Conti .... producer (uncredited)
 
Original Music by
Renzo Rossellini 
 
Cinematography by
Otello Martelli 
 
Film Editing by
Eraldo Da Roma 
 
Production Management
Augusto Dolfi .... production supervisor (as A. Dolfi)
Ugo Lombardi .... production manager
Alberto Manni .... production supervisor (as A. Manni)
 
Second Unit Director or Assistant Director
Eugenia Handamir .... assistant director (as E. Hadamir)
Annalena Limentani .... assistant director (as A. Limentani)
Federico Fellini .... assistant director (uncredited)
Massimo Mida .... assistant director (uncredited)
 
Sound Department
Ovidio Del Grande .... sound
Valerio Secondini .... audio restorer
 
Other crew
Annalena Limentani .... english dialogues
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Paisà" - Italy (original title)
See more »
Runtime:
USA:120 min | 134 min (restored version) | Italy:125 min
Country:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Canada:PG (Ontario) | Italy:T | Portugal:M/12 (Qualidade) | Sweden:15 | USA:Not Rated | USA:Approved (PCA #4698)
Filming Locations:

Did You Know?

Trivia:
Writer and assistant director Federico Fellini can be noticed in a scene from Episode III ("Roma) as part of the crowd asking for water to an American soldier (Gar Moore), and soon after providing him acting instructions moving the head.See more »
Goofs:
Revealing mistakes: 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 »
Movie Connections:
Referenced in Il tassinaro (1983)See more »

FAQ

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22 out of 29 people found the following review useful.
At times devastating, at times with a little faith- Paisa is Rossellini's neo-realist epic, 27 January 2004
Author: MisterWhiplash from United States

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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