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Vittorio de Sica, at least in these neorealist films, has a marvelous knack for hitting the audience where it hurts with the ending. The Bicycle Thieves and Umberto D had two of the most powerful, poignant, and complex endings ever made. The Children are Watching is equal to those in this way.
The child was orphaned shortly before he began work on The Children Are Watching Us and he would go on to work with De Sica again on Cuore (1948). Emilio Cigoli, in the role of Andrea, was a film dubber prior to his appearance in The Children Are Watching Us and the woman playing Agnese, his housekeeper in the film, was actually his real mother.
21. Mai 2024 · Synopsis. In his first collaboration with renowned screenwriter and longtime partner Cesare Zavattini, Vittorio De Sica examines the cataclysmic consequences of adult folly on an innocent child. Heralding the pair’s subsequent work on some of the masterpieces of Italian neorealism, The Children Are Watching Us is a vivid, deeply humane ...
The Children Are Watching Us: On De Sica’s The Children Are Watching Us (1943, Italy) and Majidi’s The Color of Paradise (1999, Iran). In Search of Cinema: Writings on International Film Art . Montreal: McGill-Queen's University Press, pp. 83-96.
27. März 2006 · The Children Are Watching Us marks the first full blossoming of one of the most fruitful collaborations in world cinema history. The brilliant pairing of legendary Italian actor and hitherto commercial director Vittorio De Sica with Cesare Zavattini, the talented screenwriter who was to become the chief theorist of the neorealist movement that flourished in Italy right after World War II ...
A very early Vittorio De Sica effort, The Children Are Watching Us was originally released in Italy as I Bambini Ci Guardano. Director De Sica collaborated with another neorealist pioneer, Cesare Zavattini, on the screenplay. The film, a real tearjerker, concerns a young mother (Isa Pola) who can't stand the pressures exerted on her by family ...
The Children Are Watching Us WHERE CHILDREN ARE CONCERNED, two myths predominate on film: that of the original innocence of children, an innocence that only becomes sullied by contact with the society of grown-ups; and that of the child-as-father-to-the-man, of childhood as a prelude to the main event of adulthood. Among films of the first kind ...
