And I believe that audiences expect all this from the Italian cinema.I believe in the ability of the most important films - the ability to "carry information". The general public wants to be informed ... Bohemian translation by Giuseppe De Santis Survives whether neorealism crisis? For some time now about the "crisis" of the Italian neorealist cinema hear from all sides.Who predicted his total exhaustion and death in the shortest possible time, who have right on it celebrates commemoration.In fact, it recently while so loud at full throat, screaming about this "crisis", the direction of neorealist films are gaining popularity not only among the people with whom neorealism to the present time has been associated with their problems and content but also among the part of the public who did not initiallyshowed no interest and was almost indifferent with respect to the major works of Italian cinema. How much all this is true, can be judged by the fact that the Italian producers, and, of course, not from motives of charity, while not declaring war on this area:fees from the movies such as "Rome - Open City" and "Bicycle Thieves," "Living in the World" and "bandit", "Bitter Rice" and "In the Name of the Law", show that both the national and the international market neorealism was an excellent way to place capital.It will be recalled and all cases of apparent initial failure, which could discourage producers, but later, at the end of the complete cycle of national and international distribution, turned out to be a bargain.Forgetting about all of this, some venal hack hastened to announce the download the film Egri csillagok
and alleged commercial failure of "Miracle in Milan", when the film has yet to get the second, third and fourth screen;usually affects the overall outcome of film distribution in the domestic market as the figures are not unimportant in the eighties, and even more interest, not to mention the fees, which can give it to theaters in the international market, where the names of artists such as Vittorio De Sica and Dzavattini are true success.When the same venal hack heralds the most conformist press, launched into kritikoesteticheskie reflections on the same film, they talked about the "decline" and, therefore, death neorealism. "Miracle in Milan", in their opinion, is a sad and final epitaph for him.Just the other day to spite slander fabrications Print De Sica began work on his "Umberto", faithful to the principles that have made it a long and glorious way of directing what it was;and, to judge by in the process of developing or implementing the works of directors, which is usually referred to as neo-realist direction, no one is going to turn off the banners because of the download the film Egri csillagok
and promised "prophet crisis" disaster.And yet, to clear the field from the countless misunderstandings, it is necessary to determine once and for all image and the psychology of those who started to talk about the supposed "crisis" neorealism.For the sake of historical objectivity to say at once that in the first row of the "prophets of crisis" are those who have always deliberately tried to imagine a better direction of our movies as denigration of Italy, as it is an image that allegedly shows our country into a miserable and unworthy.Needless to say, they are not only different narrow notions of art and culture, but also a show with a stupid chauvinism and nostalgia for the Nazi spirit.