UMBERTO D. (Vittorio De Sica, 1951)

Vittorio De Sica’s own favorite among his films, Umberto D. claims the most powerful opening of any Italian neorealist film. It begins with an overhead long-shot of a city street in daylight. From behind the cars that move up the street, steadily becoming the shot’s focus, is an orderly mass of people, retirees who are […]

IVAN (Aleksandr Dovzhenko, 1932)

When sound was added to cinema, film lost its unique visual quality and sensibility; sound diminished film’s capacity for artistic expression. Film artists continued to use silence in an expressive and meaningful way, but it was the silence of the whole thing that contributed to the extraordinary depth, intensity and urgency of such masterpieces as […]