From "Rome, the Undefended City", "Fire of War" to "Germany Zero Year", Rossellini injected his consistent attitude of realism into it, focusing the lens on the current situation in Germany after the war.
Through a child’s perspective, tell the story of the poor life of the German people after the war, the environment in which the family was left behind, and the government’s subsidies were not enough to live. The boy did many things to help the family and improve the status quo of the family, but it didn’t help. The father was sick in bed. The eldest son of the parents refused to go to the government to receive subsidies. There was no electricity and no food. The radio recording of Hitler's speech came from a distance, one by one, shadows and darkness, and nightmare of fear surrounded this helpless family like ghosts.
In such despair, the child poisoned his father and committed suicide by jumping off the building, a human tragedy.
It was the war waged by the Nazis that caused such a distorted psychology of children and this human tragedy.
In the post-war trilogy, we can see Rossellini’s continuous deepening and attitude in narrative. Heart realism is not only to restore reality, but to connect shocking fragments of life and fragments that can express the main theme of the film. What is implied is Rossellini's deep sympathy for the war-torn people, and his hatred and exposure of fascism.
The post-war trilogy allows us to see the real war and the real side of the film. The documentary aesthetics of images has become an indelible chapter in the history of film.
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