Evengyny Thanks for the memories!

SunnyHello Nice effects though.

Claysaba Excellent, Without a doubt!!

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

lasttimeisaw A Rossellini-Bergman Neo-realism drama takes place in the post-war Rome, Italy. Bergman plays Irene, an elegant socialite, the wife of a wealthy capitalist George Girard (Knox, in his cold, unimpressionable and unpleasant patina), together they have a young son Michele (Franchina), who feels constantly neglected by his parents, especially Irene, with whom he has spent the dreadful bombing days in England during WWII. Thus, on the occasion of one of the regular dinner gatherings hosted at home, Michele impulsively attempts a suicidal jump to grab his parents's attention, only later passes away from a blood clot.Irene lapses into guilt and depression after the bereavement, she grows apart from George, who insists they should shake off the mourning period together. With the help of a close friend Andrea Casatti (Giannini), Irene is introduced for the first time to the hardships of the poverty-stricken living in "the other side of Rome", which has eluded her thus far. In her conscience-driven commitment, Irene throws herself in helping out those who are in urgent need: defraying the medicine expense of a deprived family to save a young boy's life; finding a job and standing in for a poor but spirited woman (Masina), who has six children to tend (three are her own kids, the rest are orphans); taking care of an ailing prostitute Ines (Pellati) in her last days. She transforms herself into a modern-day saint.But a saint always invites persecution in an unjust world, George, holding his own grudge and gnawing jealousy (he accuses Irene of having an affair with Andrea) against her, cannot stand her constant absence in the household and refuses to take her side with respect to her newly occupied activities. When she conducts a misdemeanour to help a young criminal to evade arrest, George and his lawyer conspire to put her in a mental institution, thinking that a spell of solitude is what she needs the most to resume her social and familial duty as a wife of an important businessman. Irene doesn't defy the ungrounded internment, instead, it strengthens her unerring advocacy of a pure conception of altruism, an act superior of any religious beliefs or political slants. In the final stage of the film, she regains her peace and abides by her conviction in front the review board, who then collectively decides that she should be locked up there permanently, only those who have been aided by her affectionately call her their patron saint, her martyrdom is aptly consummated.Bergman's performance is faultless, albeit the fact that her dialog was completely dubbed in post- production, it is a performance demands immeasurable investment from a thespian's emotional gamut (most of the time, those heart-rending moments are obtrusively intensified by Renzo Rossellini's highfalutin score), persistently expressive and emotive, her saintly appearance has taken shape through all the ordeal she experiences or witnesses, only Bergman can succeed in eliciting such powerful empathy without telegraphing an air of contrivance, Irene Girard is one of the absolute highlights in her prestigious career.In the end of the day, what can new audience say about the central story? Is Irene's self-inflicted sacrifice is a truly commendable virtue? Or, in a more pragmatic stance, her incarceration basically blocks herself from practicing the noble cause to assist the impoverished, she might acquire the tranquility she particularly yearns for after the loss of her son, yet, if that is the case, it contradicts the whole concept of her irreproachable devotion of altruism, the vestige of selfishness betrays from her final gesture, it seems, in order to find the ultimate peace in herself, she barters it with the actual good deeds she would have done if she chooses to accept her old role as a stopgap. With her wealth and wisdom, there are many ways she can continue her philanthropic endeavour, if she really puts her mind into it. That's the divide between then and now, a lofty, masochistic crucifixion is not fashionable and favourable any more, especially there is a more sensible alternative one can choose, pragmatism prevails in today's standpoint.

SnoopyStyle Irene (Ingrid Bergman) is a socialite married to George Girard (Alexander Knox). She neglects her son Michele and ignores his pleads. After his death, she suffers from guilt and starts helping people in need. Her communist cousin Andrea Casatti takes her to the other half of Rome. George is annoyed about her absences and accuses her of having an affair. She tries to help a young man and his parents. He had committed armed robbery and she pushes him to turn himself in. The police accuses her of helping him escape. George puts her in a mental asylum and abandons her. Her need to help others is declared insanity.I like the idea of a saint in the modern world. The main drawback is that it's a little melodramatic at times. Ingrid Bergman is a glamorous star but her acting can sometimes be a little old school. This is a compelling story. The melodramatic touches may be better served with some simple grittiness. I rather she not break down in the asylum which would make her imprisonment more unjust.

Vihren Mitev Film that addresses not so familiar to us theme from the film world, in a way that probably will not be seen again, ever. The level of criticism towards humanity, even more to its "elite" backgrounds is really high. Even the most ordinary people can be seen through this critical look.The theme, I think, is the theme of humanism. How different people deal with it. Whether human are the rich who think only of themselves or the poor whose environment stimulates them to live away from what the education understand as normal or like the people confronted with nothingness of Albert Camus? Interestingly, the normal, healthy society answers this question. It diagnoses the anomaly and puts it in quarantine. Footing her mental illness, surpassing even the religious world view.Such is probably the Europe in 1951 - a little child that tried twice to get the attention of his mother in a rather extreme way.Film deserves to be seen.http://vihrenmitevmovies.blogspot.com/

ECLIPSE1977 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). It's really astonishing the way Ingrid Bergman's face changes throughout the movie. She really looks like a "human God" (specially towards the end) just by looking at her expressions. If you have the opportunity of watching "Europa '51" twice, you will notice that her character in the beginning of the story, where Irene Girard (Ingrid Bergman) is the mother of a well-off family, is totally different from the last shots. I also like how Irene contrasts with the way of living of the poor children and working-women. Although Rossellini's movie is a bit lengthy, bearing in mind it was made in Italy in 1952, many events occur with short scenes perfectly connected obtaining a gorgeous dynamism as a whole. I'm almost sure that my favorite scene is the same as the majority of the people who watched "Europa '51". I refer to the moving ending of the story. I also like how the camera moves around capturing the contrast of expressions between the sick patients and Irene. I encourage everybody to watch this masterpiece, even twice!