Saturday Night and Rome,the Open City :: essays research papers

Italian neo realist pic and British brotherly realist cinema acquit some similarities in some ways. First of each we may say both of them breaks through dimensions for the individuals of their culture. They try to give tensions intimately the war. Both gives us a perspective to view at the cinema as a natural eye. The important thing is to able to look and realize as Berger&8217s said. (John Berger _ Ways of Seeing) So I go forth try to give a brief story of two films from these fields.&8226Saturday dark and Sunday morning&8226Rome Open CityThe most remarkable film of the 1960s British new wave in cinema, Saturday dark and Sunday Morning was in objet darty ways the most potent of the group, with its right on anti-establishment stance, unblushing treatment of sex and working class lifter Arthur Seaton was something new in British cinema. While other films of the period have dated somewhat, most of Reisz&8217s ground-breaking film looks as fresh and powerful as ever, an d its valid to observe just how good Albert Finney was in the constituent of Seaton&8230 Set in the gray industrial town of Nottingham, Alan Sillitoes novel SATURDAY shadow AND SUNDAY MORNING, with all of its black realism, is successfully adapted to the screen with a powerful performance by Albert Finney in his first starring role. music director K arl Reisz draws on his work in documentaries to give the film a overhasty eye for the look and feel of northern England. Arthur Seaton (Albert Finney) is a young man trapped in a mindless factory job, intrinsically rebelling, still without any focus to his anger. He spends his Saturday nights getting drunk and his Sunday mornings fishing. His closeness with a married neighbor, Brenda (Rachel Roberts), seems to please him only for its risky illicitness. Their love scenes are controversial for the palpable expression of real sexual pleasure that Roberts shows in the role of an ordinary English housewife, and because of the fact that she receives, from a handsome younger man, the sexual fulfillment that her husband can not provide. Arthurs best acquaintanceship Bert (Norman Rossington) shares Arthurs resentment but avoids his self destructive ways. Arthur gets into increasing trouble when he impregnates Brenda (Rachel Roberts), the neglected wife of Arthurs mild-mannered co-worker Jack (Bryan Pringle). Abortions were illegal at the time, although often hinted at in British films.In the story that follows, we see this insolent rebel bluster his way through some of the formative experiences of his young adulthood.