Rating: 
Summary: A relentlessly moving film
Review: It wouldn't be easy to find a film which is more relentlessly moving than Umberto D. Although it is a fairly simple story, the power of the images and characters will remain with the viewer long after the movie ends. The film effectively draws the viewer into the life and struggles of an old man and his dog as their condition becomes increasingly desperate. It is almost painful to watch at times but it is also one of the most beautiful and unforgettable films that I have seen.
Rating:
Summary: The End of Neo-Realism?
Review: Many have said that this film officially ended the great era of Italian neo-realism in film. This may or may not be so, however if true one can certainly see why after even a single viewing. Unlike other neo-realist classics such as Visconti's "La Terra Trema," this film does not work on an overtly emotional level.
Umberto D. is not, shall we say, a particularly sentimental character. He has been hardened emotionally not only by poverty, but also by the callousness of those around him, who are more interested in getting on with the business of post-war reconstruction. As such, Umberto has virtually lost touch with humanity (with notable exceptions such as the maid, whom he can honestly count as a friend). Umberto is thus not particularly likeable, and what's left of his better nature is lavished on his dog, rather than on people. Umberto is also not particularly in touch with his peers, elderly pensioners who have planned well for their old age and thus are not in the same desperate situation as he.Why is Umberto 15,000 lire in debt to his landlady? Why hasn't he paid the rent for over a year? And as such, can we honestly fault the supposedly "evil" landlady for kicking this man out of her home? After all, he's not exactly a nice guy, and neither has he paid her for his living arrangements for quite a long time. It's thus taking the easy way out to see Umberto solely as a victim of society...he is also a victim of the mismanagement of his own life. And this, rather than any overtly sentimental issue, is what makes this film so devastatingly haunting. While watching this film, I could only think, "There but for the grace...go I." Umberto's situation is a universal one, as many of us will eventually face the time when we must retire and rely heavily on the government to provide the income necessary to survive. And, as we all also know, that compensation (whether it be Italy's pension or America's social security) is rarely enough to survive, much less to lead an enriching and happy life after retirement. Yes, Umberto is more than somewhat to blame for his situation, however the accumulation of debt is something most of us have had to deal with at one time or another. Ultimately Umberto D. is everyman and, as such, we end up sympathizing deeply for an ostensibly unsympathetic character. Umberto's choices later in the film are deeply moving and ring true--even if we don't particularly like the man. This basic conflict (sympathizing and identifying with a character whom we probably wouldn't associate with if we met him today) is at the core of this wonderful film. Umberto's basic humanity is still "in there" somewhere--it has simply been compromised and, on many levels, eliminated by the machinations of a cold, self-focused, and unthinking world. Highly recommended, though I didn't need my handkerchief as many have noted here. I was taken by this film to a place beyond tears, beyond sentimentality. How refreshing. A masterpiece which any fan of international cinema must not miss.
Rating:
Summary: The End of Neo-Realism?
Review: Many have said that this film officially ended the great era of Italian neo-realism in film. This may or may not be so, however if true one can certainly see why after even a single viewing. Unlike other neo-realist classics such as Visconti's "La Terra Trema," this film does not work on an overtly emotional level.
Umberto D. is not, shall we say, a particularly sentimental character. He has been hardened emotionally not only by poverty, but also by the callousness of those around him, who are more interested in getting on with the business of post-war reconstruction. As such, Umberto has virtually lost touch with humanity (with notable exceptions such as the maid, whom he can honestly count as a friend). Umberto is thus not particularly likeable, and what's left of his better nature is lavished on his dog, rather than on people. Umberto is also not particularly in touch with his peers, elderly pensioners who have planned well for their old age and thus are not in the same desperate situation as he. Why is Umberto 15,000 lire in debt to his landlady? Why hasn't he paid the rent for over a year? And as such, can we honestly fault the supposedly "evil" landlady for kicking this man out of her home? After all, he's not exactly a nice guy, and neither has he paid her for his living arrangements for quite a long time. It's thus taking the easy way out to see Umberto solely as a victim of society...he is also a victim of the mismanagement of his own life. And this, rather than any overtly sentimental issue, is what makes this film so devastatingly haunting. While watching this film, I could only think, "There but for the grace...go I." Umberto's situation is a universal one, as many of us will eventually face the time when we must retire and rely heavily on the government to provide the income necessary to survive. And, as we all also know, that compensation (whether it be Italy's pension or America's social security) is rarely enough to survive, much less to lead an enriching and happy life after retirement. Yes, Umberto is more than somewhat to blame for his situation, however the accumulation of debt is something most of us have had to deal with at one time or another. Ultimately Umberto D. is everyman and, as such, we end up sympathizing deeply for an ostensibly unsympathetic character. Umberto's choices later in the film are deeply moving and ring true--even if we don't particularly like the man. This basic conflict (sympathizing and identifying with a character whom we probably wouldn't associate with if we met him today) is at the core of this wonderful film. Umberto's basic humanity is still "in there" somewhere--it has simply been compromised and, on many levels, eliminated by the machinations of a cold, self-focused, and unthinking world. Highly recommended, though I didn't need my handkerchief as many have noted here. I was taken by this film to a place beyond tears, beyond sentimentality. How refreshing. A masterpiece which any fan of international cinema must not miss.
Rating:
Summary: A MASTERPEICE OF HUMAN COMPASSION
Review: New on DVD (August 03), this exceptional film strikes an emotional chord with universal truths. Among the greatest of films, Vittorio De Sica's UMBERTO D (Criterion) tells the simple story of an elderly man and his only companion, a dog, struggling to survive in post WW II Rome. Words cannot convey the power of this unsentimental, compassionate masterpiece of Italian Neorealism. Carlo Battista, a retired teacher and non-actor, is extraordinary as Umberto. You'll laugh and weep and it will remain a part of your heart as long as you live. A must have.
Rating:
Summary: The greatest movie ever made
Review: Not much more needs to be said. There's no need to gild this lilly, the greatest film ever made. The dog's name is Flag, not Flike! I believe that De Sica chose the name as an homage to another director, the American Clarence Brown, who made The Yearling a few years earlier and the name of the fawn is Flag in that great movie. There's a small irony there: it illustrates De Sica's worldliness, his sophistication, his familiarity with and love of popular culture, especially films. There is not a trace of that charming quality in his masterpieces. Everyone should see Umberto D. Great art is our only shot at becoming civilized. And then see his other incomparable movies: The Children Are Watching Us, Shoeshine (about which Pauline Kael said that if Mozart had made movies, this is what they would have been like), The Bicycle Thief and, especially, Miracle in Milan, which is a comedy -- but not like any comedy you've ever seen. It's bliss. If you want to know what this art form is really like and what it can do to change your life, you need to see these masterpieces of De Sica.
Rating:
Summary: Devastatingly moving
Review: Quiet and simple, it builds to a tragic climax so powerful that only a egghead contrarian or someone trapped in a stance of ironic distance could fail to find moving. One of the best films I've ever seen.
Rating:
Summary: Humanity vs. The Modern World
Review: The master of Italian Neo-Realist cinema, DeSica, creates with Umberto D. one of the finest films of his career (I will not say his finest because I am torn between this movie and his earlier "The Bicycle Thief"). Set in post WWII Italy, this film follows the heartwrentching story of a retired civil servant, Umberto D., and his dog, Flike, as he tries to survive on his modest government pension in a world where traditional human values have fallen before the weight of an amoral modernistic culture. OK. So far what I have said is basically right off of the movie's box description and no more origional than what others have said. It's just that this movie is very difficult to describe without doing the nature of the film an extreme disservice. This is a movie completely devoted to instilling in the audience a sense of empathy towards a character that they very likely just passed by on the street entering into the theatre without a second thought. By attempting to convey the strong pathos of such an ordinary human being (played incedentally by a nonprofessional actor) the film offers hardly anything in the way of spectacle, just showing the realistic day to day life of forgoten humanity. This all sounds almost silly on paper, and by virtue of the subject matter it is. This is one of those movies that could not be a book. It could not convey its message by means of the printed word, and takes advantage of the medium of picture in a masterful way. One of the true greats of world cinema. Now just a few words on the Criterion Edition DVD. As many of us have some to expect from Criterion, this DVD is presented in a sharp clear transfer and with a decently clean audio track. It also shipped with a fair amount of extra features which help to elucidate and expand the viewing experience. It has a very nice hour length documentary devoted to DeSica's films and a very interesting interview with the actress who played the maid. On top of this it ships with a few written essays. The one disappointing omission is the lack of a commentary track. Oh well, maybe some day. Overall a good buy, especially considering that this is one of Criterion's less expensive offerings.
Rating:
Summary: Humanity vs. The Modern World
Review: The master of Italian Neo-Realist cinema, DeSica, creates with Umberto D. one of the finest films of his career (I will not say his finest because I am torn between this movie and his earlier "The Bicycle Thief"). Set in post WWII Italy, this film follows the heartwrentching story of a retired civil servant, Umberto D., and his dog, Flike, as he tries to survive on his modest government pension in a world where traditional human values have fallen before the weight of an amoral modernistic culture. OK. So far what I have said is basically right off of the movie's box description and no more origional than what others have said. It's just that this movie is very difficult to describe without doing the nature of the film an extreme disservice. This is a movie completely devoted to instilling in the audience a sense of empathy towards a character that they very likely just passed by on the street entering into the theatre without a second thought. By attempting to convey the strong pathos of such an ordinary human being (played incedentally by a nonprofessional actor) the film offers hardly anything in the way of spectacle, just showing the realistic day to day life of forgoten humanity. This all sounds almost silly on paper, and by virtue of the subject matter it is. This is one of those movies that could not be a book. It could not convey its message by means of the printed word, and takes advantage of the medium of picture in a masterful way. One of the true greats of world cinema. Now just a few words on the Criterion Edition DVD. As many of us have some to expect from Criterion, this DVD is presented in a sharp clear transfer and with a decently clean audio track. It also shipped with a fair amount of extra features which help to elucidate and expand the viewing experience. It has a very nice hour length documentary devoted to DeSica's films and a very interesting interview with the actress who played the maid. On top of this it ships with a few written essays. The one disappointing omission is the lack of a commentary track. Oh well, maybe some day. Overall a good buy, especially considering that this is one of Criterion's less expensive offerings.
Rating: 
Summary: Good Neo-Realism....
Review: The problem is that it shows up all the problems and paradox's of the neo-realist doctrine. While attempting to record unfettered "reality" (real world locales, un-trained actors) it makes use of constraining dramatic devices, such as the ending on the train tracks- "highly emotional" and all, but in a way utterly false, pretentious and manipulative. Reality claims and artifice sit side by side uneasily in this one. It seems that age has merely shown up the films unabashed pandering and teasing of the audience now that the shadow of world war two seems so light and temporally removed (itself having become the subject of a far more virulent and counter-intuitive form of artifice: Hollywood doctrine). Deserves a look, but for a better example of how this general film ethos could work look up some of the 'cinema verite' of the following decades.
Rating: 
Summary: No Hankies For Me
Review: The story line of Umberto D. could be the story of any man in any western country caught up in old age by changes he couldn't understand without sufficient resources to survive. Urbanization had loosened family and other ties in Italy and indeed all over Europe, and many men in the post-war period found themselves alone in the city without anyone to turn to in times of personal crisis.
The movie opens with a group of pensioners marching through the streets of Rome demanding an increase in their pensions. After all, a new system was in place after the defeat of the old order and rampant inflation was eating away at their pensions' value. The march was broken up gently by the police and the marchers were ordered to disperse as they had no permit.
Umberto is one of these men and the film chronicles this one man's struggle with the reality of his redundancy. He eats in a soup kitchen (and gives half of his food to his dog) and his daily life revolves around trying to scrounge up enough money to bring his rent payments current by selling off his better possessions. He occasionally crosses paths with old "friends" from better days, but when they learn of his plight, they turn their backs on him.
He can't bring himself to beg. When on the brink of success at his first begging attempt, pride causes him to turn away and refuse what is offered.
He cares most for his dog Flike and for the maid in his ant-ridden penzione who befriends him. None of his half-baked attempts to come up with his rent arrears succeed including his feigning illness in order to be admitted to a charity hospital, thereby saving the meagre soup-kitchen fee for a few days. When he returns home from the hospital and finds his landlady had knocked a hole in the wall of his room, let his dog loose in the street and was planning to make his room part of a larger reception room, he fled and frantically searched for his dog at the pound where it would be put to death if unclaimed.
Reunited with his dog and facing eviction, he felt the only way out was suicide. He even failed at that and momentarily lost the trust of his beloved Flike.
Umberto's plight is tragic, but it is the plight of one who fails to plan for the contingency of old age. He was somewhat a victim of circumstance, but was also a victim of poor choices. When one can barely afford to live, having a pet is stupid. Umberto had no family apparently. Why did he stay in expensive Rome? Why did he not save any money when he was still working as a civil servant? Though his situation is sad, he brought many of his problems on himself. No hankies for me.
What I liked most about the film is its stark aspect. Black and white film accentuates the film-maker's portrayal of the drabness of everyday life in post-war Rome. What I found most surprising is that bus and lorry drivers were prepared to run over anyone in their path who did not clear out fast enough. This was demonstrated several times, once at the beginning where the buses just scatter the pension marchers without slowing and may have been the film-maker's way of portraying man's callous indifference to man.
Carlo Battisti, an untrained actor, gives an excellent performance as the pitiful Umberto. It is actually quite unforgettable. Film fans looking for action and excitement are advised to avoid Umberto D. It is certainly not for everyone, but it is a must-see for foreign film buffs. Four stars.
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