Germania Anno Zero (Germany Year Zero) (1949)
Average Rating: 8.9/10
Reviews Counted: 20
Fresh: 19 | Rotten: 1
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Average Rating: 0/10
Critic Reviews: 5
Fresh: 4 | Rotten: 1
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Average Rating: 4/5
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In the third and final film of Rossellini's WWII trilogy, the director shifts his focus from his native Italy to the bombed-out ruins of Berlin, where 12-year-old Edmund Koehler struggles for survival. Among the nine people he lives with are: a father, who is suffering from malnutrition and a fatal illness; a brother, who is a former Nazi soldier hiding to avoid arrest; and a sister, who has turned to prostitution. Scouring the rubble-strewn city for food, money, and cigarettes, he comes upon a
Sep 19, 1949 Wide
May 2, 2005
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The colossal rubble of Berlin is not just an analogue to the collapse of the social order but an amazing sight, and the movie makes you feel the weight of every smashed façade and fallen stone.
Pic isn't acted but 'lived.' Pro and non-pro cast play it with uniform sincerity. Edmund Meschke is the most impressive of the lot, delivering a poignant, believable portrayal as the young disgraced hero.
The sum effect of the presentation is a sense of bleak discomfort and despair, unrelieved by any purge of the emotions.
To the critics of the time, it seemed that Rossellini had betrayed the tenets of neorealism...It now appears as Rossellini's first mature work, pointing to his masterpieces of the 50s.
Short and very downbeat, this hits the irony buttons rather too much but is still an uncomfortable, powerful film.
One of cinema's most frightening films, Germany Year Zero concerns one of the most frightening periods of history.
The documentary footage of a decimated Berlin is still enormously powerful, especially when compared to the coverage of that other vanquished, but unscathed, capital in Rome, Open City.
[VIDEO ESSAY] In war, Rossellini seems to say, it is the innocent that suffer most.
While mainstream reportage operates all kinds of cliched evasions, Rossellini's cinematic experimentation enables us as spectators to develop our capacity for compassion. And we need this at the present time, perhaps more than ever.
Even if you don't entirely buy into the final moments (which I didn't), they do little to lessen the power and profundity of the film's overall message about what a world at war does to those caught in the crossfire
Though war has ended, ideology endures. Carpet bombing cant bury a generation of poisonous lies.
A horror movie in the manner of a neo-realist film, where fantasy mixes with reality.
Quickly makes you forget its soapbox agenda and delves into a deeply felt story so powerful it hurts.
Fantástico drama sobre a situação do pós-guerra, cria um personagem verossímil e sua tragédia ilustra com dor o que era viver na Alemanha naquela época.
There's rarely a shot that doesn't portray the utter hopelesness of Edmund's situation, and it makes his eventual fate feel almost inevitable, if no less wrenching as a result.
Even as Germany Year Zero promotes a definite agenda, it remains admirable, because it incorporates politics without sacrificing its technical and storytelling virtues.
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