Realism in cinema, particularly within the Italian Neorealism movement and its global reverberations, represents a profound shift in narrative and aesthetic approaches that prioritize authenticity and social truth. The films "Bicycle Thieves" by Vittorio De Sica, "Germany, Year Zero" by Roberto Rossellini, and "Padre Padrone" by Paolo and Vittorio Taviani encapsulate the essence of Italian Neorealism with their raw depictions of post-war realities, focusing on the struggles of ordinary people, particularly through the innocent yet poignant perspectives of children. These films employ non-professional actors, on-location shooting, and a narrative style that eschews traditional Hollywood glamorization, instead embracing the harsh, unembellished truths of daily life.
This tradition of cinematic realism extends beyond Italy, influencing filmmakers around the world, including the Iranian director, Abbas Kiarostami. His film "Where is the Friend's House?" reflects similar realist strategies, depicting a child's quest's simplicity and moral urgency in a rural village. Much like Italian Neorealism, Kiarostami's work uses minimalistic storytelling, real locations, and non-professional actors to capture life's nuanced, everyday experiences, emphasizing a deep connection to the human condition and the innocence of childhood.
Italian Neorealism emerged in the aftermath of World War II as a response to the socio-economic hardships and political changes in Italy. This movement sought to depict the realities of everyday life, focusing on the struggles of ordinary people in a war-torn society. By highlighting the plight of the working class and the impact of war, these films offered a stark contrast to the escapism of traditional Hollywood cinema.
A quintessential example of Italian Neorealism is "Bicycle Thieves." Directed by Vittorio De Sica and co-written by Cesare Zavattini, the film follows Antonio Ricci and his son Bruno as they search for Antonio’s stolen bicycle, essential for his job. De Sica employed non-professional actors, filmed on location in Rome, and focused on the daily struggles of ordinary people. The casting of the child, Bruno, highlights the child's perspective on adult hardships, adding an ethical dimension to the narrative. Bruno’s resilience and practicality stand in contrast to his father’s despair, illustrating the impact of societal hardships on children.
Similarly, "Germany, Year Zero" by Roberto Rossellini is set in the ruins of post-war Berlin and follows 12-year-old Edmund as he navigates the challenges of survival in a devastated city. Rossellini used non-actors and shot the film on location to emphasize the authenticity of the setting. Edmund’s experiences reflect the psychological impact of war on children, with the film avoiding sentimental sympathy and instead presenting a profound intellectual engagement with the child’s reality. The realistic portrayal of Edmund’s struggles serves as a commentary on the broader societal collapse and the moral complexities faced by children in such environments.
Another notable film, "Padre Padrone," directed by Paolo and Vittorio Taviani, is an adaptation of Gavino Ledda’s autobiographical novel about his harsh upbringing in rural Sardinia and his journey to literacy. The film combines documentary and narrative styles, using the Sardinian dialect and innovative audio-visual language. The protagonist’s transition from childhood to adulthood highlights the impact of authoritarian parenting and the struggle for personal liberation. The Taviani brothers’ self-reflexive techniques, including direct address and stylistic use of sound, create a "Brechtian" experience that challenges traditional realism, yet maintains a deep connection to the protagonist’s inner world.
Abbas Kiarostami, an influential figure in global cinema, extended the principles of Italian Neorealism to an Iranian context with his film "Where is the Friend's House?". The film follows young Ahmed’s quest to return his friend’s notebook, depicting his moral integrity and determination. Kiarostami’s minimalist storytelling, use of non-professional actors, and rural settings mirror the Neorealist emphasis on authenticity and simplicity. Ahmed’s journey emphasizes the innocence and moral clarity of children, reflecting broader societal themes through his simple yet profound quest. Kiarostami’s work showcases the universality of Neorealist principles, demonstrating their relevance and impact across different cultural contexts.
The historical contexts of Italian Neorealism and Iranian cinema, particularly during the time of Abbas Kiarostami, are profoundly different. These differences in historical background influence not only the themes and styles of the films but also their production conditions and societal impacts. Italian Neorealism emerged in the aftermath of World War II, during a period of reconstruction and economic hardship. The war had devastated Italy, leaving many people in poverty and cities in ruins. This context led Italian filmmakers like Vittorio De Sica, Roberto Rossellini, and Luchino Visconti to focus on the struggles of ordinary people. The filmmakers sought to capture the harsh realities of everyday life. Films such as "Bicycle Thieves" and "Germany, Year Zero" highlight the desperation and resilience of individuals in a society grappling with the aftermath of conflict and economic instability. These films often conclude with open-ended or ambiguous resolutions, reflecting a sense of realism and uncertainty about the future.
In contrast, Iranian cinema, particularly during the late 20th century when Kiarostami began his career, was influenced by the cultural, political, and social changes occurring in Iran. The Iranian Revolution of 1979, which led to the establishment of the Islamic Republic, profoundly impacted the country's cinema. Filmmakers had to navigate a complex landscape of censorship and cultural policies that promoted Islamic values and national identity. Despite these restrictions, or perhaps because of them, Iranian filmmakers like Kiarostami developed a distinctive style that emphasized subtlety, metaphor, and a poetic approach to storytelling.[im1]
Kiarostami's "Where Is the Friend's House?" reflects these conditions. The film's focus on a child's simple quest in a rural village can be seen as a response to the socio-political environment in Iran, where overt political commentary could be dangerous. Instead, Kiarostami uses the child's journey to explore universal themes of duty, empathy, and moral integrity in a manner that avoids direct confrontation with the authorities. Unlike the often-somber tone of Neorealist films, Kiarostami's work tends to be more optimistic and humanist, highlighting individuals' innate goodness and resilience. His use of non-professional actors and real locations aligns with Neorealist techniques. Still, his style is more contemplative and introspective, with a focus on the simplicity and beauty of everyday life.
Moreover, while Italian Neorealist films like "Padre Padrone" incorporate elements of social critique and self-reflexive techniques, Kiarostami's work often blends realism with a lyrical, almost metaphorical layer. In "Padre Padrone," the Taviani brothers use direct address and stylized sound to create a Brechtian experience, emphasizing the struggle against patriarchal oppression and the journey toward self-emancipation. Kiarostami, on the other hand, uses the simplicity of Ahmed's quest and the natural landscapes of rural Iran to evoke a profound sense of place and cultural context without overtly didactic elements. In Kiarostami’s later work, he will become more Brechtian in nature seen in his Koker trilogy: “And Life Goes On…” and “Through the Olive Trees.”
The role of children in these films is another point of comparison. In both Kiarostami's and the Italian Neorealists' works, children serve as lenses through which the filmmakers explore societal issues and human conditions. In "Bicycle Thieves," Bruno's relationship with his father provides an ethical dimension to the narrative. At the same time, in "Germany, Year Zero," Edmund's experiences highlight the impact of war on the young and vulnerable. Similarly, in "Where Is the Friend's House?" Ahmed's journey underscores themes of responsibility, empathy, and moral integrity, showing how a child's perspective can offer profound insights into the human condition[im2] .
Kiarostami's ability to elicit genuine performances from his young actors is central to the film's emotional impact. Babek Ahmed Poor, who plays Ahmed, brings a natural spontaneity and sincerity to his role, embodying the innocence and determination of a child. Kiarostami's direction allows Ahmed's journey to unfold with an organic fluidity, capturing the small yet significant moments that define his quest. This authenticity is further reinforced by the film's minimalist dialogue and the absence of manipulative music, allowing the visuals and the performances to convey the story's emotional depth.
Kiarostami's "Where Is the Friend's House?" mirrors these Neorealist principles in its focus on a child's perspective and its use of real locations and non-professional actors. However, Kiarostami's approach is more understated and poetic. While Italian Neorealism often presents a stark, almost documentary-like realism, Kiarostami infuses his films with a gentle, contemplative quality.
Transitional objects, as described in psychological literature, refer to items or possessions children form an emotional attachment to in order to provide comfort and security during transition or separation. These objects, often soft toys, blankets, or other personal items, provide familiarity and continuity in a child's life, helping them navigate the challenges of growing independence and separation anxiety (Kuhn, 83).
In the film "Where is the Friend's House" transitional objects significantly convey the emotional journey of the young protagonist, Ahmed. The film follows Ahmed's quest to return his classmate's notebook, a seemingly simple task that becomes a metaphorical journey of responsibility and empathy. Throughout the film, Ahmed clings to the notebook as a transitional object, representing his determination to fulfill his duty and maintain a sense of connection with his friend. The notebook becomes a symbol of Ahmed's moral compass and his desire to do what is right. As the film progresses, the notebook takes on a deeper meaning, reflecting Ahmed's growing understanding of the importance of friendship, responsibility, and the consequences of his actions. The use of the transitional object in "Where is the Friend's House" highlights the emotional depth and complexity of the narrative, allowing the audience to empathize with Ahmed's journey and reflect on their own experiences of childhood innocence and moral dilemmas.
In "Germany, Year Zero," the transitional object is symbolized by the little girl's doll. The presence of the doll serves as a poignant reminder of innocence amidst the chaos and devastation of post-war Berlin. It represents a link to a pre-war childhood that has been shattered by the harsh realities of the present, highlighting the loss of innocence experienced by the characters.
In "Padre Padrone," the protagonist's book metaphorically represents the transitional object. Gavino's journey from illiteracy to literacy symbolizes his transition from a state of oppression and ignorance to one of empowerment and enlightenment. The book becomes a powerful symbol of knowledge and self-discovery, enabling Gavino to break free from the constraints of his authoritarian upbringing and forge his path towards independence and personal liberation. As Gavino learns to read and write, the book becomes not only a tool for education but also a source of hope and resilience in the face of adversity. It represents a bridge between Gavino's past and future, marking a transformative journey towards self-realization and autonomy. Thus, the book serves as a poignant transitional object that embodies the protagonist's quest for freedom and self-determination.
Similarly, in "Bicycle Thieves," the stolen bicycle itself serves as a transitional object. It is not merely a means of transportation but a symbol of hope, dignity, and livelihood for Antonio and his family. The bicycle represents Antonio's aspirations for a better life and his desperation to provide for his loved ones. Its theft plunges the family into a state of despair and forces Antonio to confront the harsh realities of poverty and injustice. Thus, the bicycle functions as a transitional object that symbolizes the fragile balance between hope and despair in a world marked by economic hardship and social inequality[im3] .
The role of children in these films serves as a powerful lens through which filmmakers explore societal issues and ethical dilemmas. Whether through the innocence of Bruno in "Bicycle Thieves," the resilience of Edmund in "Germany, Year Zero," or the moral awakening of Ahmed in "Where Is the Friend's House?," children offer profound insights into the complexities of the adult world. The exploration of realism in cinema with a focus on children's perspectives underscores the universal themes of resilience, morality, and human connection. By delving into the complexities of everyday life, these films invite viewers to reflect on their own experiences and understandings of the world, reaffirming the power of cinema as a medium for social critique, empathy, and enlightenment[im4] .
Works Cited
KUHN, ANNETTE. “CINEMATIC EXPERIENCE, FILM SPACE, AND THE CHILD’S WORLD.” Revue Canadienne d’Études Cinématographiques / Canadian Journal of Film Studies, vol. 19, no. 2, 2010, pp. 82–98. JSTOR, http://www.jstor.org/stable/24411822. Accessed 19 May 2024.
[im1]Laurel, this is really important background to develop a comparison.
[im2]Perfect summation of each film’s characteristics.
[im3]It also can be read as one more symbol of the individual collective problems addressed in the film.
[im4]Laurel, this is a very sound and insightful paper. Even though you did not cite many sources your readings of the films is on point. A+
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