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100The credo of Italy's fabled neorealist movement was that movies rooted in real, unadorned experience carry more dramatic impact than studio concoctions can dream of, and this 1952 masterpiece exemplifies that argument brilliantly.
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100Creates magic of a completely different sort. It makes the unlikeliest subject unforgettable, finding drama, beauty, even poetry in simple things and simple lives.
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100This is truly a great film, recently celebrated at length in "My Voyage to Italy," Martin Scorsese's documentary about Italian cinema.
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100Universally appealing story that plays as well now as it did on opening day a half-century ago. Maybe better.
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100A film that lets life flood into our souls.
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50It's too bad that the film is sporadically crude (a moment of suicidal angst is illustrated with a shove-zoom to the pavement), prone to mega-Italian extroversion, and far too in love with stupid pet tricks.
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90De Sica's 1952 neorealist masterpiece; it's a stark snapshot in which all is revealed about the "daily life of mankind," as the director once offered by way of description.
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100One of the greatest films of all time and one of the handful of masterpieces to emerge from the Italian neo-realist period, Umberto D is as cerebral as it is emotional, as bleak as it is warm.
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80The ending is happy, but the general effect of the film is disturbing, so compelling is De Sica's description of a man's solitude.