I just got back from a week-long vacation from Italy. My beautiful wife and I started out in Rome, then made our way to Florence, and finally ended up in the crowded yet sublime and dream-like Venice. As a film student, I've seen many DeSica and Fellini fims in my lifetime. And as a husband, I had to sit through an endless number of overly-romanticized American romantic comedies that take place in Italy. Speaking of which, what is it with women and American movies that take place in Italy? They love them, but will refuse to watch Italian films about Italy. Don't believe me? Next time ask a woman which movie they like more, "Under The Tuscan Sun" or "La Strada?"
Anyway, the trip made me think back to all the films I watched about Italy and re-evaluate them with a fresh perspective, now that I've actually seen a lot of the locations depicted in those movies with my own eyes. Bear in mind that these are films that take place in Italy, not only Italian-made films, hence the inclusion of a couple of American titles.
5- Roman Holiday (Guess which city it takes place in?):
If I had to pick one out of the bucketfuls of Hollywood romantic comedies shot in Italy (And there's a lot. Italy is an obvious shooting location for romantic visuals. The Trevi Fountain alone certainly makes the cinematographer's job easy), I'd go for this 1953 Gregory Peck and Audrey Hepburn charmer. One of the most beloved entries in the genre, Roman Holiday not only gives us a genuinely sweet story full of done-to-death rom-com staples such as "the attractive couple that doesn't like each other at the beginning and have ulterior motives for being together only to fall in love in the end", the film also provides us with a full guided tour of Rome circa 1950s right to our living room. Writing this article, I remembered that I forgot to check out the infamous wall of wishes where Gregory Peck pretends to have his hand mauled by an ancient mouth in the wall. Which saddened me until I found out that it no longer exists, having been taken down for some reason in the late 50s.
4- Don't Look Now (Venice):
This Nicholas Roeg helmed horror flick from the early 70s is about a couple who decides to move to Venice after their daughter dies from a tragic drowning accident (Therefore Venice, a city literally covered by water, is the perfect place to forget the past, right?). Unlike many films shot in Venice that take advantage from its romantic aspects, Don't Look Now, with its long and gloomy shots of the narrow, lonely and dark streets and canals really manages to make the otherwise beautiful city seem dangerous and menacing. Having seen the city myself, I can see what Roeg, a onetime cinematographer, was going for. There were times in Venice when we found ourselves in a dark alleyway or a shadowy dead-end with only the subtle sounds of the gondolas slapping against the still waters to keep us company, I had sudden flashbacks of a murderous creepy old midget woman in a red raincoat gunning for my throat. Those of you who have seen the movie know what I'm talking about, and have lost many nights of sleep over it.
This Nicholas Roeg helmed horror flick from the early 70s is about a couple who decides to move to Venice after their daughter dies from a tragic drowning accident (Therefore Venice, a city literally covered by water, is the perfect place to forget the past, right?). Unlike many films shot in Venice that take advantage from its romantic aspects, Don't Look Now, with its long and gloomy shots of the narrow, lonely and dark streets and canals really manages to make the otherwise beautiful city seem dangerous and menacing. Having seen the city myself, I can see what Roeg, a onetime cinematographer, was going for. There were times in Venice when we found ourselves in a dark alleyway or a shadowy dead-end with only the subtle sounds of the gondolas slapping against the still waters to keep us company, I had sudden flashbacks of a murderous creepy old midget woman in a red raincoat gunning for my throat. Those of you who have seen the movie know what I'm talking about, and have lost many nights of sleep over it.
3- Umberto D. (Rome):
Quite possibly the greatest of the Italian Neo-Realist films, being slightly better than the more popular Bicycle Thief by the grand master of Neo-Realism, Vittorio DeSica, who also helmed Umberto D. as a swan song to the movement before moving onto much lighter fare like Peter Sellers comedies. It's about an old pensioner named Umberto Domenico Ferrari who becomes so broke in decrepid post-war Rome, that he decides to kill himself. The only problem is that he doesn't know what to do with his dog, his only real companion in life. The film is about Umberto trying to find a new home for his dog so he can commit suicide with a clear conscience. That is pretty much it. Within the simplicity of the story lies its raw emotional power. It is one of the most devastating filmwatching experiences of my life and I do not want to sit through the heartbreaking finale ever again, although I probably will one day. The film also showcases some familiar Rome locations in stark realism, almost as an antithesis for Roman Holiday's gleeful romanticism.
2- The League of Extraordinary Gentlemen (Venice):
Just kidding.
1- Nights of Cabiria (Rome):
Usually overlooked by other Fellini staples such as 8 (What is the shortcut on the keyboard that makes the 1/2 sign? I always look it up, and then I always forget. Ah, screw it.) and La Dolce Vita, Nights of Cabiria is, in my opinion, Fellini's best, since it incorporates his earlier Neo-Realist sensibilities without becoming too melodramatic like La Strada did at times (Don't gang up on me, I said "at times") and it included a hint of his later, more colorful and exhuberant style without going off the deep end like Juliet of The Spirits. Anchored by quite possibly one of the most memorable performances by an actress via Fellini's wife Guilletta Masina, the film follows the crude yet adorable prostitude Maria as she is flung from one adventure to another within the sprawling and diverse streets of Rome. From the decadence of a famous movie star's house to the depravity of the homeless living in caves outside the city, Fellini runs the whole gamut. After having experienced the city firsthand, this is the one film that I think perfectly captures the beauty and the chaos of Rome.
