lasttimeisaw A Rossellini-Bergman Neo-realism drama takes place in the post-war Rome, Italy. Bergman plays Irene, an elegant socialite, the wife of a wealthy capitalist George Girard (Knox, in his cold, unimpressionable and unpleasant patina), together they have a young son Michele (Franchina), who feels constantly neglected by his parents, especially Irene, with whom he has spent the dreadful bombing days in England during WWII. Thus, on the occasion of one of the regular dinner gatherings hosted at home, Michele impulsively attempts a suicidal jump to grab his parents's attention, only later passes away from a blood clot.Irene lapses into guilt and depression after the bereavement, she grows apart from George, who insists they should shake off the mourning period together. With the help of a close friend Andrea Casatti (Giannini), Irene is introduced for the first time to the hardships of the poverty-stricken living in "the other side of Rome", which has eluded her thus far. In her conscience-driven commitment, Irene throws herself in helping out those who are in urgent need: defraying the medicine expense of a deprived family to save a young boy's life; finding a job and standing in for a poor but spirited woman (Masina), who has six children to tend (three are her own kids, the rest are orphans); taking care of an ailing prostitute Ines (Pellati) in her last days. She transforms herself into a modern-day saint.But a saint always invites persecution in an unjust world, George, holding his own grudge and gnawing jealousy (he accuses Irene of having an affair with Andrea) against her, cannot stand her constant absence in the household and refuses to take her side with respect to her newly occupied activities. When she conducts a misdemeanour to help a young criminal to evade arrest, George and his lawyer conspire to put her in a mental institution, thinking that a spell of solitude is what she needs the most to resume her social and familial duty as a wife of an important businessman. Irene doesn't defy the ungrounded internment, instead, it strengthens her unerring advocacy of a pure conception of altruism, an act superior of any religious beliefs or political slants. In the final stage of the film, she regains her peace and abides by her conviction in front the review board, who then collectively decides that she should be locked up there permanently, only those who have been aided by her affectionately call her their patron saint, her martyrdom is aptly consummated.Bergman's performance is faultless, albeit the fact that her dialog was completely dubbed in post- production, it is a performance demands immeasurable investment from a thespian's emotional gamut (most of the time, those heart-rending moments are obtrusively intensified by Renzo Rossellini's highfalutin score), persistently expressive and emotive, her saintly appearance has taken shape through all the ordeal she experiences or witnesses, only Bergman can succeed in eliciting such powerful empathy without telegraphing an air of contrivance, Irene Girard is one of the absolute highlights in her prestigious career.In the end of the day, what can new audience say about the central story? Is Irene's self-inflicted sacrifice is a truly commendable virtue? Or, in a more pragmatic stance, her incarceration basically blocks herself from practicing the noble cause to assist the impoverished, she might acquire the tranquility she particularly yearns for after the loss of her son, yet, if that is the case, it contradicts the whole concept of her irreproachable devotion of altruism, the vestige of selfishness betrays from her final gesture, it seems, in order to find the ultimate peace in herself, she barters it with the actual good deeds she would have done if she chooses to accept her old role as a stopgap. With her wealth and wisdom, there are many ways she can continue her philanthropic endeavour, if she really puts her mind into it. That's the divide between then and now, a lofty, masochistic crucifixion is not fashionable and favourable any more, especially there is a more sensible alternative one can choose, pragmatism prevails in today's standpoint.

SnoopyStyle Irene (Ingrid Bergman) is a socialite married to George Girard (Alexander Knox). She neglects her son Michele and ignores his pleads. After his death, she suffers from guilt and starts helping people in need. Her communist cousin Andrea Casatti takes her to the other half of Rome. George is annoyed about her absences and accuses her of having an affair. She tries to help a young man and his parents. He had committed armed robbery and she pushes him to turn himself in. The police accuses her of helping him escape. George puts her in a mental asylum and abandons her. Her need to help others is declared insanity.I like the idea of a saint in the modern world. The main drawback is that it's a little melodramatic at times. Ingrid Bergman is a glamorous star but her acting can sometimes be a little old school. This is a compelling story. The melodramatic touches may be better served with some simple grittiness. I rather she not break down in the asylum which would make her imprisonment more unjust.

jsinoz-js Do you remember when film featured up close photography, colorless images allowing character interaction to be the foreground, and spoken dialogs with noticeable pauses? Do you remember the last time a film haunted you? Correct… it simply flashed to mind without your invitation! If you can touch any of these viewing memories, this film may be worthy of 108 minutes.Europe '51 is directed by Roberto Rossellini, and stars the stunning master of nuanced emotion, Ingrid Bergman. The 1952 film is set in Rome, post WWII, and features wonderful set designs to distinguish the comfortable life and the dire struggles known to the rest of us.As Irene, Bergman undergoes a metamorphosis that will beckon the dark experience of an unexpected loss of a beloved, and the consequential deep fall into emptiness. Irene is first introduced to us as the consummate hostess with a natural grace and instinctive flair for entertaining. She ignores the voice of her only son repeatedly to fulfill her social obligations. Bonded by their time of closeness under the threat of air raids, Irene is no longer burdened to protect and comfort her son in the present post-war calm. Her 10 year old son, Michele, takes his life after repeated, failed attempts to gain his mother's affection and attention. Irene is paralyzed by the loss, and her husband, George, accommodates her every wish until he comes to think she is having a love affair. The grieving mother finds solace in service to those in need, and her family is bewildered. Her long absences from home, loss of interest in social engagements, and avoidance of her husband leave her family troubled. Irene is transitioning spiritually as a means to heal her loss. She is introduced to a family in need of assistance, and she finds great joy in acts of compassion. Irene assists this family to secure treatment for their sickly son, she then befriends a single mother of six dependents, and tirelessly administers care to a young, isolated prostitute whose life is yielding quickly to tuberculosis. Irene's deeds are in conflict with her social position, and neither her husband nor her mother can compel her return to them. Irene has become a passionate, driven arm of charity in service to her community. She can not return to the life she knew prior to the loss of her young, beloved son. Her family can not understand the sweeping changes Irene has internalized. They confine her to a mental institution. She accepts this placement, and silently radiates a saintly mercy as she encounters the helplessness of the other patients.Fortunately, Rossellini allows you to script your own ending as you look upon Irene from behind the confinement of cell bars at the mental institution. She has been visited by her family, and the family of the sickly boy she assisted. After your viewing, it would be good to hear from you.

John Seal Maybe it's the dubbing, or maybe it's the endless scenes of people crying, moaning or otherwise carrying on, but I found Europa '51 to be one of the most overwrought (and therefore annoying) films I've ever seen. The film starts out promisingly if familiarly, as mom Ingrid Bergman is too busy to spend time with her spoiled brat of a son (Sandro Franchina). Whilst mummy and daddy (bland Alexander Knox) entertain their guests at a dinner party, the youngster tries to kill himself, setting in motion a life changing series of events that find Bergman spending time showering compassion on the poor and needy. Spurred on by Communist newspaper editor Andrea (Ettore Giannini), she soon spends more time with the downtrodden than she does with her husband, who soon locks her up in an insane asylum for her troubles. Bergman plays the saint role to the hilt, echoing her 1948 role as Joan of Arc, and Rossellini does a fantastic job of lighting and filming her to best effect. Unfortunately, the script pounds its point home with ham-fisted subtlety, as Andrea and Mom take turns declaiming Marxist and Christian platitudes. By the final tear soaked scene, I had had more than my fill of these tiresome characters. A real step down for Rossellini as he stepped away from neo-realism and further embraced the mythical and mystical themes of 1950's Flowers of St. Francis.