Waste of time

This is a gorgeous movie made by a gorgeous spirit.

The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

Mostly, the movie is committed to the value of a good time.

A great filmmaker only can make a great film. I love it greatly. Because, the idea of magical thing in 1951 is incredible. my rating is always 10/10. I have seen such a great film after a long time. Specially Vittorio De Sica is one of the great filmmakers to me. But I didn't thought such a good film he will make. There are some special scenes that are very important to me. That are the ; when all the people are busy with their dreams and tell to Toto for their demands. He is fulfilling the demands of the people but his lover or his dream Edvige is outside . She is staying outside but can't speak anything to her only lover or dream man. He is getting sorrow. At the last scene when they all are going or flying; Edvige is seated behind Toto. At last their dream was turned into reality. Everyone saw it. It was also the best scene to me. However, one word is very important that Freedom is easy but its respect is difficult to hold. Pigeon is such kind of freedom. It should be kept in private place and should control it. for a better and happy life.

after more than a half a century, it remains fascinating. for the atmosphere, for the fantasy, for the references to Charlot and for its status of strange social manifesto. because de Sica propose a special side of neo - realism. touching, surprising, seductive, fascinating. a game of imagination. and a fantastic result. the nice special effects, the clothes of fairy tale, the references to Charlot, the innocence, the ideal solution to a profound crisis, the Italian air and the impressive performances are ingredients for a fascinating film about dreams and miracles. a film about faith but in a special form. so, a revelation. today like in 1951. because it remands the importance and the force of small things. and that is more than a virtue.

This film is like an allegory of the gospel. It has such direct honesty and innocence you can not possibly believe it was made after the world war when Italy was ravaged and devastated, and was filled with a huge homeless, impoverished population. It is a monument to the best qualities of the human spirit, as well as to the endless creative resources of that land of inspiration. Toto is a character like Doestoevisky's "Idiot", a modern Christ finding his way in a big city. He is goodness and purity fortified by love, and his acts change the people he encounters, as much as the miracle working dove. The story is told in a natural manner and simple style, yet imbued with a magic that is almost a premonition of Fellini's surrealist fantasies. It is one of the most inspiring, uplifting movies ever made.

This is one of those projects that when you consider each piece, you know it is a mess, essentially worthless. The story is alarmingly close to an afterschool morality play. The style is deliberately confusing if you know the filmmaker and the neorealist dogma of his work and others of the school. The camera is kept in a fixed location, often stationary, and though there are some special effects, the cinematography is less than ordinary. The acting and presentation is after the style of silent films. The thing has little coherence and is comically episodic. There is an offensively artificial sweetness to it.Yet, when you put it all together, it works well enough for you to not be annoyed by it. And that's pretty remarkable because the coherence is in the parts, not within any part (like story) which is of less importance than the whole. This story actually seems intent on destroying the relevance of story. A statue comes alive; a mother's love is unfinished; characters in a shantytown become visible and not. A magical power alters much of what matters, but with no causal result. Oil is discovered, but no one cares.Yet it works. As a historical artifact, it matters because it seems to have released the Italians from the dreadful rut they were in and allowed Fellini to do his turn at magical narrative folding. Other than that, I cannot recommend it but for the experience of seeing the value of imagining each bit with the same character and having the film work just on that coherence. Ted's Evaluation -- 2 of 3: Has some interesting elements.