paisan (roberto rossellini, 1946)
Wednesday, April 20, 2022
Paisan was the middle film in a trilogy Rossellini released just after WWII, after Rome, Open City and before Germany Year Zero. I am not alone in thinking Open City was the best, but all three are important films. Rossellini combined documentary techniques and mostly amateur actors to create a neo-realistic approach to his fictions. He was a major figure in Italian neo-realism, with this trilogy being perhaps the foremost example.
Paisan is broken into six episodes that roughly tell a chronological account of Italy from the moment when the Allies invaded Sicily. A common thread throughout is the difficulties the various characters have communicating with each other, since they speak different languages. In the first episode, a local Italian woman helps an American patrol where only one of them speaks Italian. In a later episode, some American chaplains stay at a monastery. The language isn't the only source of communication difficulties, because only one of the chaplains is Catholic (the others being Protestant and Jewish).
While the episodes have a certain flow, they also serve to break up the continuity in a way that reflects life during wartime. It's hard to predict what will happen next, both for the audience and for the characters in the war. This adds to the special version of realism the film embodies.
The music, by Rossellini's brother Renzo, is unfortunate. Renzo was an accomplished composer, and the quieter scenes in Paisan are effective. But whenever the action becomes rousing, the music overstates things, overwhelming the visuals, sounding like nothing more than canned background music. #205 on the They Shoot Pictures, Don't They list of the top 1000 films of all time.
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