Featured Audience Ratings

• Carlos M

  
  Another neorealist masterpiece made by Vittorio de Sica, it is a truly heartfelt and unforgettable portrait of a poverty-stricken life in postwar Italy, avoiding any sort of easy sentimentality and needing no effort to make us love and care about its struggling character.

• Aditya G

  
  Amongst the countless films we watch day in day out (or week in week out), dealing with the same tired premises, like a breath of fresh air, once in a while, we come across a one of a kind, straight from the heart, simple yet very profound film like Vittorio De Sica's… More
  Amongst the countless films we watch day in day out (or week in week out), dealing with the same tired premises, like a breath of fresh air, once in a while, we come across a one of a kind, straight from the heart, simple yet very profound film like Vittorio De Sica's "Umberto D."! The master of Italian Neo-realist cinema has never failed to wow me. "Umberto D" is no exception. Although it doesn't quite match up to the greatness of my personal favourite De Sica film "The Children are Watching Us", it is still a very important and poignant film with a noble message. [img]https://lh3.googleusercontent.com/-ZOpxQD6YWWE/TrqMB-ZtJ0I/AAAAAAAACFQ/jcQgAJUSguY/s528/vlcsnap-2011-11-09-19h41m53s23.jpg[/img] Umberto Domenico Ferrari (Carlo Battisti) is an elderly man with apparently no one but his dog Flike by his side. He seems to be living on his pension which itself is not enough to pay off his back rent and his cantankerous landlady (Lina Gennari) keeps threatening to boot him out of the room if the debts aren't settled soon. She apparently has other reasons than just the lack of payments to kick him out and maintains her stand anyway, refusing to even accept part of the payment, saying it is "all or nothing". Soon, Umberto D. realizes the fact that she doesn't want him to stay, no matter what. The film then relates Umberto D.'s desperate attempts at securing a stable shelter for his beloved Flike at least, if not for him..... The sheer simplicity of Vittorio De Sica's story-telling is astonishing! It is amazing how effortlessly De Sica executes the scenes in his film. Every scene is so down-to-earth, almost like they are real episodes happening in your neighbourhood with real people. There is no glamour here, absolutely no sugar-coating of characters or actors to make them look good and "cinematic"; these are real people; faces representing people you see every day. It should be noted that most of the actors in "Umberto D." were non-professionals, including the lead actor, Carlo Battisti. This was his first and last film role! Perhaps De Sica wanted as much realism as possible and hence the decision to cast non-actors! [img]https://lh3.googleusercontent.com/-Nbv8vrEzCKM/TrqMAeIriyI/AAAAAAAACFA/VQAkjahCd-Y/s528/vlcsnap-2011-11-09-19h46m00s125.jpg[/img] De Sica paints a pretty accurate picture of how people react when it comes to helping others in need. Though not the whole populace, but a majority of them just speak of doing good deeds and being selfless, but when it comes to actually doing something for someone, they shy away. The kind of social apathy shown in "Umberto D" is not exaggerated. Also there definitely are people like the difficult landlady who treats Umberto, a man old enough to be her father, with such disrespect, it is not surprising that Umberto D despises her. There are other characters like the landlady's maid Maria (Maria-Pia Casilio), a young girl who really cares for Umberto and wishes to help him, but is already drowned in problems of her own, including one of her pregnancy from one of her boyfriends (she doesn't know which!), yet both denying their role in it! The film takes a more somber turn after the first half when the situation seems to turn utterly helpless for Umberto. That is where the real struggle starts; the most painful part of the film, and some scenes can't help but move the viewer. It is in this part also that the most intelligent, unpredictable, and somewhat disturbing scenes of the film unfold. Most De Sica films have an effect on the viewers and tend to make them miserable by the end. "Umberto D" is no different, yet it is definitely uplifting as compared to some other De Sica films! The acting from some of the cast is the weak point of the film but let us not forget, as mentioned above, most of the actors weren't professionals. In spite of that, the lead actor Carlo Battisti delivers a sensitive, heartfelt performance. If I hadn't read that he is not a professional I wouldn't believe it, except in a couple of awkward scenes where it becomes slightly visible. As for Maria-Pia Casilio, this girl is a dead giveaway and practically exposes the fact that she isn't an actress as she holds the same deadpan, wooden expression on her face in all of her scenes! Although she looks pretty cute with her doll-face, she can't act to save her life, and it shows! The landlady, Lina Gennari on the other hand does a decent job. [img]https://lh4.googleusercontent.com/-HLxw74OvMMA/TrqL_iund_I/AAAAAAAACE8/qLBlvwIPVvw/s528/vlcsnap-2011-11-09-19h41m00s7.jpg[/img] Special mention must be made of the clever little mutt, the dog, Flike. Now how on earth De Sica managed to get the dog to do all those things is something awe-inspiring! Of course, they have trainers for dogs and I suppose this trainer must've been a real pro! Suffice to say that Flike is the only "actor" in this film that rivals Carlo Battisti's performance! It is a priceless act; kudos to the team of trainers and De Sica for pulling off the job with the animal! All you folks young and old, must certainly look "Umberto D." up. It is a striking example of how much "substance" matters. Good content is all that is necessary to make a great film. You don't need style, sex, glamour or violence. Score: 9/10

• danny d

  
  the realism and simplicity of this film is penetrating. probably even better than de sica's slightly more well known film "bicycle thieves", umberto just has a charm that helps you resonate with his plight. the end of the film comes upon us a bit too abruptly, but the… More
  the realism and simplicity of this film is penetrating. probably even better than de sica's slightly more well known film "bicycle thieves", umberto just has a charm that helps you resonate with his plight. the end of the film comes upon us a bit too abruptly, but the rest of the film is nearly perfect.

• Jennifer D

  
  Ah, Italian Neorealism. This film was alright. The bit with the dog at the end nearly killed me. Ravage a human monstrously and I will be fine. Injure a dog, and I'm coming after your blood....

• Pierluigi P

  
  Director Vittorio De Sica and screenwriter Cesare Zavattini, show again their good sense and total mastery over pathos. Characters of exemplary moral standards who find themselves unjustly trapped inside a somber existence, condemned to indifference and oblivion. It's been quite… More
  Director Vittorio De Sica and screenwriter Cesare Zavattini, show again their good sense and total mastery over pathos. Characters of exemplary moral standards who find themselves unjustly trapped inside a somber existence, condemned to indifference and oblivion. It's been quite a long time since I saw a film so beautiful, involving and heartbreaking. I'm not embarrassed to say I broke into tears at the finale. What a splendid achievement.

• Randy T

  
  Wonderful film that's at once inspiring and heart wrenching.

• Lanning :

  
  I'm getting to the age where I really need to think hard about retirement and how I can afford it. Can't count on Social Security for much. 401K is taking a beating. Don't want to work until I'm 150. But I do have my dogs, and they are what keep me going.… More
  I'm getting to the age where I really need to think hard about retirement and how I can afford it. Can't count on Social Security for much. 401K is taking a beating. Don't want to work until I'm 150. But I do have my dogs, and they are what keep me going. <p>This movie could be the story of my life. Maybe it is the story of my life? Thank goodness for the goodness of animals. They really can save us.

• Ken S

  
  Simply Perfect

• Stella D

  
  i bawled like a baby. flike! bring tissues *sniff*

• Adam M

  
  the end is heartrending, I think it would be hard to re-watch

• Michael S

  
  One of the most heartwrenching films ever made.

• John B

  
  A beautiful heart tugging story of a retired bureaucrat who can't make ends meet. The sequence with his dog at the end is particularly poignant.

• Christopher H

  
  Neorealism is not my cup of tea. Watched this film for film theory class and it was horrible. Entertainment-wise, why would I want to watch someone's life as it would happen in reality on the big screen. If I wanted to see that I'd tape my own life. Otherwise, technically it… More
  Neorealism is not my cup of tea. Watched this film for film theory class and it was horrible. Entertainment-wise, why would I want to watch someone's life as it would happen in reality on the big screen. If I wanted to see that I'd tape my own life. Otherwise, technically it was fine and I suppose you should see it at least once in your life. But I say that about most films.

• Mike T

  
  Vittorio De Sica's neorealist presentation worked brilliantly in The Bicycle Thief both as an emotional tool and a narrative device. Umberto D. felt somewhat less genuine to me, and significantly less focused. I respect the director's vision, precision and execution, but it… More
  Vittorio De Sica's neorealist presentation worked brilliantly in The Bicycle Thief both as an emotional tool and a narrative device. Umberto D. felt somewhat less genuine to me, and significantly less focused. I respect the director's vision, precision and execution, but it lacked the kind of emotional resonance I was hoping for. It's well-shot, well-paced, and orchestrated by a sure hand, but I was left feeling slightly unfulfilled by this piece.

• Andrew F

  
  <i>Umberto D.</i> is a classic film that tells the simple tale of a man and his dog. The train scene is simply amazing and thrilling.

• Anthony V

  
  I know now I have a soul, because this film tore it out. Engrossing, deeply touching and after seeing it, you feel as if you were a resident of Rome. A must see for fans of Italian cinema.

• Alex H

  
  One of the best films to come out of the Italian neorealist movement.

• Henrik S

  
  Someone please explain it to me, what is so masterful about this movie ? I am not saying I did not like it and I do agree with the praise for the rookie lead actor, bzt apart from that, it was a solid and bleak social study of post-war Italy, more specifically the portray of an older… More
  Someone please explain it to me, what is so masterful about this movie ? I am not saying I did not like it and I do agree with the praise for the rookie lead actor, bzt apart from that, it was a solid and bleak social study of post-war Italy, more specifically the portray of an older citizen affected by circumstance. Yet, the movie is no Capra or Wilder and I cannot see the genius in it.

• Ivan D

  
  A shattering tale of an old pensioner who, despite of his financial needs, kept his pride. A great tear-jerker, especially the climax.

• MJS M

  
  For those who don?t know, Neo-Realism was a movement of cinema that emerged in post-war Italy. Neo-Realist films were characterized by a very gritty style and look, they were set in the present dealt with the various social issues of post-war Italy. The films were often tragic… More
  For those who don?t know, Neo-Realism was a movement of cinema that emerged in post-war Italy. Neo-Realist films were characterized by a very gritty style and look, they were set in the present dealt with the various social issues of post-war Italy. The films were often tragic slices of life, films trying to show all the ills that Italian society was going through at the time with the hopes of raising awareness and bringing on social change. Creation of the genre is often credited to Roberto Rossellini, but the director who really brought the movement to its full potential was Vittorio De Sica, who was sort of the Truffaut to Rossellini?s Godard. De Sica?s Undisputed masterpiece is Bicycle Thieves (sometimes called The Bicycle Thief), a tragic tale played out on the streets of Rome. De Sica?s 1952 film Umberto D isn?t quite as famous as Bicycle Thieves, but it?s almost equally respected. The film is a sad little slice of life about an old man named Umberto Domenico Ferrari (Carlo Battisti) who?s in debt because of a cut pension. His back rent is due in a few days, and he doesn?t quite have enough money to pay. His uncaring landlord knows he can?t pay and has every intention of throwing him out on the street. Facing homelessness, Umberto considers suicide but hesitates because he doesn?t want to leave his beloved dog Flike without a master. Umberto spends most of the remainder of the film trying to find a place for Flike so he can kill himself in peace. As you can tell from the description, this isn?t a comedy. Neo-realism is not the place to go for easy carefree viewing, but the overall message is powerful and worth the sadness one must go through. Part of what makes these movies so sad is just how realistic they are, the cast is made up of non-actors, the camera work is documentary-like, and the locations ooze of sadness. Like in Bicycle Thieves, there is a tragic irony at the center of Umberto D, that Umberto does more to help his dog find a home than society ever did to help Umberto. Of course this isn?t leading up to a happy ending, but the ending wasn?t quite as bleak as I expected. This is classic Neo-realism, not quite the classic that Bicycle Thieves is, but still an extraordinary film.

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