EUROPA 51

Italy, 1952, 113 minutes, Black and white.
Ingrid Bergman, Alexander Knox, Giulietta Masina.
Directed by Roberto Rossellini.

Europa 51 is quite an extraordinary film. It is one of the many realistic films made by Roberto Rossellini in the 40s and 50s. He came to great prominence with his films Rome, Open City and Paisan at the end of World War Two, signalling the predominance of Italian neo-realism at the period.

He was the centre of a scandal in the late 40s when he married Ingrid Bergman. He made several films with her in the first half of the 50s before their eventual divorce. The first was Stromboli, the second was Europa 51. They went on to make Journey to Italy and The Fear. He works very well with Ingrid Bergman.

Ingrid Bergman has the role of an ordinary middle-class wife and mother who loses her son. She then becomes socially aware, important for the context of the early 1950s in the post-World War Two reconstruction. Not only does she become aware, she becomes an advocate for social justice, finishing in prison – the equivalent of a contemporary saint.

Alexander Knox came from Hollywood to portray her husband.

This was the period when Ingrid Bergman was banned from going back to the United States, the American government and other public officials having taken scandal at her leaving her husband and children. She had won an Oscar for Gaslight in 1944 and, during the 1940s, had been a very strong screen presence – in such films as Casablanca. She was allowed to return in the mid-50s, made Anastasia and won another Academy Award. (She was to win a third Oscar for best supporting actress in Murder on the Orient Express in 1974.)

Rossellini himself was to make a number of historical films, reconstructed documentaries of a very serious nature ranging from The Life of Socrates to The Confessions of St Augustine as well as a Jesus film, The Messiah, 1971.

The film has a supporting role for Giulietta Massina, the wife of Federico Fellini, who was soon to appear with great success in La Strada and The Nights of Cabiria – and later to perform in a number of her husband’s films including Juliet of the Spirits, Ginger and Fred.

1. An interesting an enjoyable film? At the beginning of the fifties, now? For Italians, international audiences?

2. The reputation of Roberto Rosselini and his film making? His relationship with Ingrid Bergman and his presenting her on the screen? The quality of black and white photography? Rome in the early fifties? The semi-classical musical score? How much a film of the fifties did it seem in style and content?

3. The introduction to Irene with her driving the car, hurried arrival home, her love for Michel but her not listening to him with his problems? Her wanting to listen but her being busy about her guests and socialising?
Audience response to her as a mother? As a person?

4. Her running of the house, the love for George and yet the formality of the relationship, the arrival of the guests and the social chatter, the presenting of the toys to Michel and his lack of response, the meal and its interruptions?

5. The dramatic impact of the accident, the reaction of Irene, of George, of the guests and their helping them?
The tension at the hospital, the fact that Michel seems to have committed suicide?

6. Michel's convalescence and his sudden death and the impact on Irene, her breaking down emotionally? Her
listening to her doctor friend - and his Communist background and social concern? George and his sympathy but his lack of empathy for his wife? Her mother and her fussing around with her expectations?

7. The social position of the family in Italy - as Americans in Italy, representing power, position, business? George's reactions on the level of his position in society? Irene breaking through this to more personal response?

8. The points of view represented by the doctor, attitudes towards Communism and Socialism in Italy at the beginning of the fifties? The effect on Irene, on her family, George's hostility and his antagonism towards Communism, his friend, feeling that he was seducing his wife? Her listening to the doctor's views, experiencing his work in the hospital. visiting homes, moving from an ideology to a religious experience?

9. The impact of the visit to the family, her experience of their poverty, her emotional response and concern? How did this begin to change her?

10. The religious experience, her visit to the church? Her transition to becoming a modern saint, dissatisfaction with society, her way of life, repenting, self giving, concern and love?

11. How convincing was this in her encounter with the prostitute, taking her home in the taxi, putting her to bed, staying with her, realising after the doctor came that she was going to die? Her experience of the woman's death and its peacefulness, arranging for the funeral?

12. Her encounter with the neighbouring family, their criminal son, his escape and her urging him to it as well as giving himself up? The repercussions on her feelings and understanding especially when she returned home and encountered George and his suspicions and her mother and her puzzle?

13. Her being arrested, discussions with the doctor, prosecutor, lawyer? George and his lack of comprehension? Her attempts to explain and understand her motives, the implications of her behaviour in justice and law? Her behaviour through the interrogations and their repercussions? The strengthening of her values?

14. Her agreement to go to the asylum, George's softening his attitude in persuading her to go and her being tricked? Audience response to this and her experience of the women in the asylum, the manifestations of their madness? Her patience and understanding while there, presence in the dining room, her help with difficult patients?

15. The contrast with her visitors - the family and their saying that she was not mad and regretting her interment? Her family and their lack of comprehension? Her decision to stay and the reinforcing of her values?

16. The final image of her imprisonment looking out - the image of what modern materialist society does with the potential saint?

17. Sentiment, religious values? How adequate a critique of contemporary Italy? Its validity now?