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She really looks like a "human God" (specially towards the end) just by looking at her expressions. It's really astonishing the way Ingrid Bergman's face changes throughout the movie.
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I suppose that when "Europa '51" was going to be filmed there was a great professional mutual understanding between Rossellini (the director) and Ingrid Bergman (main actress). Reviewed by ECLIPSE1977 10 /10 Ingrid Bergman creates an astonishing character! Only sainthood will save her from the dehumanization around her. As in 'María ' there is neither opportunity nor chance to explain clearly what she's going through to husband or authorities, leading her to a dead end of desperation.
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The final section of the movie reminded me of 'María de mi corazón', a latter film written by Gabriel García Márquez, based on a real story. Add to that list this fine drama, in which bourgeois housewife Irene suffers a transformation when confronted with the misery of those who had not been benefited with the European 'economic miracle.' Considered a saint by those she helped (Giulietta Masina included), Rossellini makes quite obvious that Irene reached that state by detouring from the usual roads she took as the wife of a prominent industrialist (Alexander Knox.) Not only has she a Marxist cousin who curiously does not preach his philosophy, but gives Irene advise whenever she talks about the misery she is discovering- but she also ventures into the slums, helps a single mother, a prostitute and a thief.
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In his evolution to works like 'The Rise To Power of Louis XIV', he made a series of melodramas with Bergman, of which 'Stromboli' and 'Voyage To Italy' are always considered the most important. Reviewed by EdgarST 10 /10 Modern sainthoodĪfter filming stories about the resistance of the Italian people during the Fascist and Nazi regimes, and the story of a German child against the barren landscape of Berlin after the war, Roberto Rossellini made a movie about Francis of Assisi and started a love and work relationship with actress Ingrid Bergman. I hope many people will see it and be moved by it as much as I did. This is the only Rossellini film I saw that made me cry.
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It is a shot full of beauty and eloquence. Irene is behind bars, her friends come and recognize her as a saint. To me, the ending is hopeful and miraculous. Though there is an apparent detachment in the drama much like most Rossellini's work, there is no question the viewer is invited to identify with Irene and share the development of her consciousness. Irene personifies a sense of change and endearment for her people she suddenly starts to care for humanity, her eyes open to the harshness of the outside world. Rossellini's unique style, the use of eloquent close-ups, or the scene where Irene's face fills the frame as she looks at a female patient - serves as "framing" devices where we see Irene attaining something larger than life. Irene's progression from ignorance to sainthood is truly a revelation. Michele's suicide here is quite different from Edmund's in "Germania, anno Zero": Whereas Edmund's heartbreaking suicide is characterized by a sense of finality and lack of consolation, Michele's suicide in "Europa '51" provokes Irene's journey to sainthood. But soon when Michele tries to commit suicide and ultimately dies, she is changed forever. Irene is shown chatting with her dinner guests who are apparently blind to the realities of outside world. At first, Bergman's Irene is portrayed as hard working mother who has very little care for her son Michele and her people. Rossellini deftly shows us the process of how a human being can transform from being a careless or ordinary to a gifted saint capable of changing the world. Much like Rossellini's neo-realist classics, "Europa '51" shows only facts or raw physical reality, yet throughout the film Rossellini makes the viewer aware of something miraculous or spiritual. "Europa '51" is a supremely rich and moving work of art, highlighted by an extraordinary performance by Ingrid Bergman (perhaps her best ever)! It beautifully expresses the uncertainty, the despair,the search for hope at that time in history. It may well be Rossellini's greatest and most complex film, though I still have soft spot for "Paisan", "Germania, anno Zero", and "The Rise of Louis XIV"! I saw Roberto Rossellini's "Europa '51" for the first time very recently and I can assure you it is without a question Rossellini's greatest film with Ingrid Bergman surpassing "Viaggio in Italia" and "Stromboli". Reviewed by Kalaman N/A A supremely rich and moving work of art (spoilers!)