492:, responsible for government policy on cinema between 1947 and 1953, had, among other aspects, questioned the film's portrayal of a Communist caring for a poor, sick child while ignoring the Catholic tradition of charity, and the negative juxtaposition of Irene's Christianity with representatives of the law and the church. This resulted in changes and deletions of religious and political content prior to the film's September premiere, and again before its release in Italian cinemas. Scenes altered or cut included a line in which Irene addresses André as "the dove of peace", or religious quotations by Irene in discussions with André and the priest at the sanatorium. The English language version for the international market ran 9 minutes shorter than the festival version, omitting scenes like Irene watching a newsreel about the relocation of the inhabitants of small village which has to make way for a reservoir dam, or her search for a doctor for Ines.
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war. He tells Irene of a young boy doomed to die because his poor family can't afford to pay for the expensive medicine. After paying a visit to the boy's home with André, Irene, shaken by the poor circumstances which the family lives in, donates the money needed for the medication. On her next visit, she is thanked by the child's family and the neighbours who gather spontaneously. A young woman neighbour, Ines, shows up and complains about the noise which prevents her from sleeping. The neighbours, speaking disdainfully of her, tell Irene that Ines is working as a prostitute during the night.
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she is put under observation in a mental institution. There, she has a discussion with a priest who appreciates her desire to help as being of a true
Christian spirit, but argues that all help and acts of love have to follow certain regulations. Irene disagrees, calling these regulations responsible for the evils in this world, which can only be overcome with love and compassion for oneself and everybody else. Shortly after, she witnesses an inmate being rescued from a suicide attempt. She lies down next to the woman, telling her that she is not alone and that she will stay by her side.
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before her first day at the factory, the young woman tells Irene that she wants to meet a man she once knew and can't show up at her job. Irene steps in for her and is concerned about the working conditions. When she later tells André of her experience, he argues that the exploited have to be freed, even if it means the use of violence. Irene rejects his view, as for her, love is the only answer to the world's troubles, and says that she is dreaming of a paradise both for the living and the departed. At home, she is accused by George of having an affair with André.
447:, Irene, divorced by her husband and left by her lover André, is released from the mental institution and continues her humanitarian work in accordance with Christian dogma. When shooting began in November 1951 (production in Italy had by then been secured), the script was still in the process of re-writing before being finally submitted to the censors in January 1952. In the final version, Irene's personal interpretation of Christianity is rejected by all institutions, including the church, and her son, with whom she was re-united in the earliest script, dies.
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everyone is saved. As her explanation does neither suffice from a radical political nor a dogmatic
Christian point of view, she is declared mentally unstable and institutionalised. Under the window of her room, the family of the saved poor boy, their neighbours and the young woman from the shack have gathered, calling her a saint. Irene looks down at them, both crying and smiling.
314:, where she is giving a dinner party for their relatives. Her young son Michel laments that she has hardly time for him, to which she replies that it's time for him to grow up and stop being over-sensitive. During dinner, the guests get involved in a debate about politics. While Irene's cousin André, a
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Some time later, Irene is questioned by a committee, consisting of representatives of the law, George's lawyer, and the head of the mental institution. Again, she tries to explain her motives by saying that she simply wants to help those who are in need of help, and that salvation is only possible if
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Irene is taken into custody by the police for helping a delinquent escape. When the teenage robber turns himself in, and George's lawyer appeals to the police arguing that Irene is in a state of shock after her son's death, and that her husband is an important representative of the
American industry,
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and that her case is hopeless. Irene watches over Ines, who eventually dies of her illness. When she goes to a neighbour to bring her the news, she is confronted with their armed teenage son, who is on the run from the police after a bank robbery. Irene helps him escape, but urges him to turn himself
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Irene meets a young woman living with six children in a small shack by the river. Three of the children are her own, which she had with a lover who left her, while the three others are orphans taken in by her. Asked by Irene to help the young woman, André secures her a job at a local factory. Shortly
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After a few days, Irene is called up by André and agrees to meet with him. Like her husband and mother, he urges her to find a way out of her present state and stop blaming herself for Michel's death. If there were anyone to blame, it was post-war society and the child's growing up in fear during a
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who writes for a political newspaper, predicts peace for the world, a conservative friend of Irene is convinced that the world is heading straight for war. The party abruptly comes to an end when Michel falls down the building's stairs and is hospitalised for a fracture of the hip bone. At the
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After visiting a church, Irene runs into Ines, who just had a confrontation with other prostitutes for streetwalking in their district. Irene takes Ines back to her home, where Ines coughs up blood. She has her examined by a doctor, who declares that Ines is in the final state of
439:(1950), Roberto Rossellini decided to place a person of the saint's character in post-war Italy and show what the consequences would be. Facing negative critical response to his work and production problems in Italy at the time, he then considered realising the project in
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hospital, Irene learns that Michel might have hurt himself by purpose to receive attention. Irene promises Michel that from now on she will always stay with him. When Michel dies shortly after from a
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saw the film as
Rossellini's best in years, but criticised the portrayal of the representatives of religious and worldly authorities. In his 1954 review for the
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as the most interesting of the three films in the
Criterion release, pointing out "a calm and an existential structure not evident in the other two".
526:), which featured both the English and Italian language versions. The film also received repeated retrospective festival screenings, including the
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on 12 September 1952 in a 118 minutes long version, which was shortened by 4 minutes before its release in
Italian cinemas on 8 January 1953.
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found kind words for star Ingrid
Bergman, but dismissed the film as "bleakly superficial and unconvincing". On the other hand, French critic
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as another influence on the film's main character. Additionally, film historian Elena
Dagrada and Rossellini's daughter
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In more recent years, critics have reconsidered the film's qualities. Reviewing the
Criterion home media release for
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interpreted Irene as a projection of the director's trying to come to terms with the early death of his first son.
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282:. The film follows an industrialist's wife who, after the death of her young son, turns towards a rigorous
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architect, together with
Ferdinando Ruffo. For the Italian language version, Ingrid Bergman was dubbed by
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310:, Irene Girard, wife of American industrialist George Girard, returns late to their apartment in post-war
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Biltereyst, Daniel; Treveri Gennari, Daniela, eds. (2015). "Triple Alliance for Catholic Neorealism".
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In an introduction produced for French television in 1963, Rossellini cited philosopher and activist
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in the US in 1954, it gained little attention, and it was not distributed at all in Great Britain.
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The film was only a moderate success among cinemagoers in Italy, and even less abroad. Released as
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received the International Jury Prize at the Venice Film Festival. Ingrid Bergman won the 1953
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1040:"The Art of Scandal: Bergman, Rossellini, and three small masterpieces"
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Nowell-Smith, Geoffrey (2007). "The American Dream in Post-War Italy".
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award from the Italian National Syndicate of Film Journalists and the
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Forgacs, David; Lutton, Sarah; Nowell-Smith, Geoffrey, eds. (2000).
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an "accursed masterpiece" which had been misjudged by its critics.
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886:"All the films of the Locarno Film Festival from 1946 to 2022"
704:"Ecco i cento film italiani da salvare Corriere della Sera"
599:"an exemplary lesson in movie-making". Film historian
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3 Films by Roberto Rossellini Starring Ingrid Bergman
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3 Films by Roberto Rossellini Starring Ingrid Bergman
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3 Films by Roberto Rossellini Starring Ingrid Bergman
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3 Films By Roberto Rossellini Starring Ingrid Bergman
443:. In the first version of the script, co-written by
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as "Passerotto", the young woman living in the shack
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632:at the Venice Film Festival for her performance.
420:Alfred Browne as Priest at the mental institution
747:Moralizing Cinema: Film, Catholicism, and Power
546:Upon its premiere at the Venice Film Festival,
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660:Roberto Rossellini: Magician of the Realbooks
294:, a list of 100 films that "have changed the
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433:, to whom he had already dedicated his film
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991:. University of Texas Press. p. 131.
987:Bazin, André (2014). "The Italian Scene".
749:. Taylor & Francis. pp. 124–127.
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862:World Cinema's 'Dialogues' With Hollywood
1128:"Europe '51: The Greatest of These . . "
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286:. In 2008, the film was included on the
1068:. Rowman and Littlefield. p. 527.
1066:Historical Dictionary of Italian Cinema
832:Lancia, Enrico; Melelli, Fabio (2005).
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298:of the country between 1942 and 1978."
821:(DVD). The Criterion Collection. 2013.
817:Interview with Isabella Rossellini in:
778:(DVD). The Criterion Collection. 2013.
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288:Italian Ministry of Cultural Heritage
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1520:Films produced by Dino De Laurentiis
1500:Films directed by Roberto Rossellini
961:Crowther, Bosley (12 January 1954).
864:. Palgrave Macmillan. p. 129.
550:was harshly criticised both from a
510:as part of a three-disc set titled
1126:Camper, Fred (25 September 2013).
1012:Brody, Richard (4 November 2013).
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1305:(segment: "Ingrid Bergman", 1953)
989:Bazin on Global Cinema, 1948–1958
461:The film's sets were designed by
393:Sandro Franchina as Michel Girard
1530:Films scored by Renzo Rossellini
1406:The Taking of Power by Louis XIV
1281:(segment: "Envie, L'Envy", 1952)
804:(DVD). The Criterion Collection.
78:Antonio Pietrangeli (uncredited)
1014:"DVD of the Week: "Europa '51""
678:Masi, Stefano; Lancia, Enrico.
1401:(segment: "Illibatezza", 1963)
1313:(segment: "Napoli 1943", 1954)
1286:The Machine to Kill Bad People
834:Le straniere del nostro cinema
554:and a Catholic point of view.
411:Alberto Plebani as Mr. Puglisi
1:
1525:Films produced by Carlo Ponti
1490:Italian black-and-white films
1038:Thomson, David (2 May 2014).
798:The Tragedy of Nonconformism
323:, Irene falls into a crisis.
292:100 Italian films to be saved
220:118 minutes (Italian version)
217:109 minutes (English version)
1540:1950s English-language films
1510:1950s Italian-language films
680:I film di Roberto Rossellini
180:I.F.E. Releasing Corporation
193:12 September 1952
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1438:L'etĂ di Cosimo de' Medici
1270:The Flowers of St. Francis
630:Volpi Cup for Best Actress
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662:. British Film Institute.
408:as Professor Alessandrini
340:in by his own free will.
75:Diego Fabbri (uncredited)
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1505:Italian neorealist films
1132:The Criterion Collection
1064:Moliterno, Gino (2020).
836:. Gremese. p. 169.
1342:Giovanna d'Arco al rogo
796:Dagrada, Elena (2013).
682:. Gremese. p. 56.
436:Flowers of St. Francis
381:Teresa Pellati as Ines
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1278:The Seven Deadly Sins
890:Locarno Film Festival
528:Locarno Film Festival
1358:General Della Rovere
1214:The Man with a Cross
915:Torino Film Festival
561:L'Osservatore Romano
532:Torino Film Festival
504:Criterion Collection
486:Venice Film Festival
390:Tina Perna as Cesira
266:, is a 1952 Italian
1545:1950s Italian films
1535:Italian drama films
941:Il Cinema Ritrovato
536:Il Cinema Ritrovato
429:Long fascinated by
1350:India: Matri Bhumi
1254:Germany, Year Zero
1178:Roberto Rossellini
1176:Films directed by
1121:TCM Movie Database
967:The New York Times
538:festival in 2015.
417:Alfonso Di Stefano
272:Roberto Rossellini
101:Dino De Laurentiis
92:Roberto Rossellini
54:Roberto Rossellini
42:Roberto Rossellini
1515:Films set in Rome
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1430:Agostino d'Ippona
1318:Where Is Freedom?
1310:Mid-Century Loves
800:(video essay) in:
514:(also containing
497:The Greatest Love
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431:Francis of Assisi
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296:collective memory
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402:Silvana Veronese
376:Giulietta Masina
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210:Running time
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186:Release date
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1462:The Messiah
1398:Ro.Go.Pa.G.
1137:19 November
1049:19 November
1023:23 December
972:19 November
946:23 December
921:23 December
895:23 December
576:André Bazin
452:Simone Weil
274:, starring
96:Carlo Ponti
86:Produced by
66:Ivo Perilli
38:Directed by
1485:1952 films
1479:Categories
1390:Anima nera
1294:Europe '51
636:References
622:Europe '51
611:Europe '51
597:Europe '51
580:Europe '51
548:Europe '51
508:Europe '51
482:Europe '51
425:Production
321:blood clot
268:neorealist
257:Europa '51
247:Europe '51
197:1952-09-12
162:Production
135:Aldo Tonti
48:Written by
24:Europe '51
1446:Cartesius
1374:Garibaldi
1262:Stromboli
591:in 2013,
542:Reception
517:Stromboli
506:released
316:Communist
306:Due to a
236:Languages
141:Edited by
1454:Anno uno
1414:Socrates
1110:AllMovie
713:11 March
609:, rated
467:Futurist
456:Isabella
170:Lux Film
151:Music by
110:Starring
1246:L'Amore
1119:at the
595:titled
578:called
558:of the
552:leftist
477:Release
252:Italian
228:Country
195: (
164:company
1465:(1975)
1457:(1974)
1449:(1973)
1441:(1973)
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1409:(1966)
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1238:Paisan
1233:(1946)
1230:Desire
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231:Italy
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684:ISBN
520:and
352:Cast
312:Rome
302:Plot
278:and
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290:’s
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