Paisan

Also, Paisan is "a film primarily of healing, an expression of regeneration and hope now that the long nightmare has come to an end - yet tempered by the legacy of rampant material and social destruction."

GreenCine Daily: Rossellini @ MoMA. 2006

The wages of war are more visible in Paisan, which is shot mostly outdoors, in the pulverized cities of Naples, Florence, and Rome, where tanks roll past ruins both modern and ancient.

Slate Magazine Nathaniel Rich 2010

The wages of war are more visible in Paisan, which is shot mostly outdoors, in the pulverized cities of Naples, Florence, and Rome, where tanks roll past ruins both modern and ancient.

Slate Magazine Nathaniel Rich 2010

In 1962, the Italian director Roberto Rossellini held a news conference to declare that cinema -- the medium for which he had directed such classics as "Rome, Open City" (1945), "Paisan" (1946) and "Voyage to Italy" (1954) -- was dead.

Rossellini's Television Masterworks 2009

It was the 1946 neorealist classic "Paisan" by Roberto Rossellini -- an episodic masterpiece about the Allied invasion of Italy during World War II in which the Italian director cast actual U.S. soldiers, local citizens, resistance fighters, German POWs and even some Franciscan monks instead of professional actors.

Nonprofessional Actors Give European Films a New Realism 2008

Rossellini often expressed an aversion to form, but somehow "Paisan" (with its battery of writers, including Sergio Amidei, Klaus Mann and Federico Fellini) acquired an elaborate network of interrelations among the episodes - thematic parallels (difficulties of communication, across languages and cultures), spatial relations (the zigzag route of the Allied campaign is echoed in the jagged itineraries of characters crossing different war zones) and dramatic devices.

NYT > Home Page 2010

IN the immediate aftermath of World War II, Roberto Rossellini made three films that helped to lay the foundations of modern cinema: "Rome Open City" (1945), "Paisan" (1946) and "Germany Year Zero" (1948).

NYT > Home Page 2010

The three-disc "Roberto Rossellini's War Trilogy" uses photochemical and digital techniques to reclaim these masterworks, removing speckles and scratches (more than 265,000 individual fixes were hand-applied to "Paisan" alone) and vastly improving definition and contrast.

NYT > Home Page 2010

Rossellini often expressed an aversion to form, but somehow "Paisan" (with its battery of writers, including Sergio Amidei, Klaus Mann and Federico Fellini) acquired an elaborate network of interrelations among the episodes - thematic parallels (difficulties of communication, across languages and cultures), spatial relations (the zigzag route of the Allied campaign is echoed in the jagged itineraries of characters crossing different war zones) and dramatic devices.

NYT > Home Page 2010

IN the immediate aftermath of World War II, Roberto Rossellini made three films that helped to lay the foundations of modern cinema: "Rome Open City" (1945), "Paisan" (1946) and "Germany Year Zero" (1948).

NYT > Home Page 2010