ManiakJiggy This is How Movies Should Be Made

SoftInloveRox Horrible, fascist and poorly acted

Salubfoto It's an amazing and heartbreaking story.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MARIO GAUCI I've often claimed that I admire Martin Scorsese far more as a film historian than as a film-maker & something like this only reaffirms that notion. While I've watched A PERSONAL JOURNEY WITH MARTIN SCORSESE THROUGH American CINEMA (1995) years ago, I've only managed now to catch up with its follow-up; although it doesn't seem to me that the previous documentary was as selective as this one, his later (& much shorter) A LETTER TO ELIA (2010) was equally choosy. While in a way this stringent choice of material - in this case, some 20 movies discussed over a 4-hour time slot - makes for a rigorous analysis of the films in question (almost playing like a selected, scene-specific audio commentary from a distinguished fan), one can't help feeling that the movies or film-makers which have been bypassed are being unjustly discriminated against! Yet, this is Scorsese speaking about the handful of Italian movies that have meant the most to him on a personal & artistic level...so there are (mainly) 8 Rossellinis, 4 De Sicas, 3 Viscontis, 3 Fellinis & 2 Antonionis. As much as I enjoyed listening to him dissecting each of these films for 10 minutes at a time, the fact that he (mostly) concentrates on celebrated World Cinema classics to begin with also means that he is not really stating anything new (unlike, say, his then-'surprising' championing of Allan Dwan's neglected oater SILVER LODE [1954] in his previous documentary which had stuck with me enough to purchase the film on DVD much later on & come to love it myself)! While I can understand that some of the omitted titles just might not have been available to view as he was growing up, some of the missing stuff IS perplexing: he doesn't mention De Sica's classic MIRACLE IN MILAN (1951) but instead concentrates on the lesser-known THE GOLD OF NAPLES (1954; the only film included I've yet to watch) & skips over LA NOTTE (1961) when he gets to Antonioni's famous trilogy! He also commits the common mistake of dismissing Rossellini's work between his Bergman & TV phases (1955-1965); I, for one, am glad that his VIVA L'ITALIA (1961) is being released on BluRay by Arrow next year in 2 versions! Again, the decision on what to include may have willfully been restricted to his formative years...but, the thing is, he is so good at analysing the films included that one longs to learn his opinion on lesser-known masterpieces like Mario Monicelli's THE GREAT WAR (1959), Luigi Comenicini's EVERYBODY GO HOME! (1960), Dino Risi's THE EASY LIFE {IL SORPASSO} (1962), Vittorio Cottafavi's THE 100 HORSEMEN (1964) & Valerio Zurlini's THE CAMP FOLLOWERS (1965)! His complete passing over of Mario Bava, Pasolini & Bertolucci is genuinely baffling, to say the least...but, for what it's worth, what is included makes one yearn to watch the films again & it served as a personal reminder that some of these I've only watched once ages ago!!

ishmaelite Trivia or not, the fact that M.S. refers repeatedly to Umberto's D.'s dog in this film as "Flag" has been driving me nuts. I have seen this great movie several times and there's no way, the actor enunciates Flag: the terrier's name is pronounced, "Fleek." I always thought it was a little homage to the french/American slang for flick(s), (alt. plural flix.) I doubted it was the french slang for cop i.e "flic")Undoubtedly other sites that include Umberto D have hashed over this subject ad N . My big problem is that Mr. S. knows more about film than almost anyone - historically included. And HE says it's Flag.It's quite likely the filmmakers had seen read m.k. rawlings book and seen the surprisingly impressive move. Rawlings and deSica shared a unflinching worldview, sensitivity not sentimentality. That said, I will always remain an aflickionata, but I'd love to be enlightened if I'm missing something.

rlasaro Martin Scorsese's documentation of Italian cinema was an education for me. Being 1st generation Italian, I gained a better understanding of my parents and nonni's political and cultural experience. Thank you Martin for compiling these great works of art. I look forward to sharing this video with family and friends.

Jim Hemphill This labor of love represents one of the greatest triumphs of director Martin Scorsese's career. Picking up where his "Personal Journey Through American Movies" left off, "My Voyage to Italy" expands upon and enriches the themes of the earlier documentary as the focus shifts to Italian cinema. It's not merely a great film about Italian movies, though it is that--with the help of collaborators such as the always incisive film critic Kent Jones and the always reliable editor Thelma Schoonmaker, Scorsese crams a semester's worth of Italian film history and criticism into four hours. Beyond being a thoroughly entertaining and insightful cinema course, however, "My Voyage to Italy" is a marvelous film about the intersection between movies and day-to-day life, both on a personal scale (as Scorsese recounts the effect that Italian films had on him and his family as he was growing up) and an international one (as Scorsese delineates the relationship between movements such as Italian neorealism and the historical context of the time). This is a movie that reminds us that movies matter, and Scorsese and his collaborators appropriately make the connection between the films under discussion and more recent works from countries such as Taiwan and Iran---showing us that the tradition of socially engaged filmmaking is alive and well, and that the world is a richer place because of it. This is a gift to film lovers everywhere, and stands alongside "Casino" and "Kundun" as yet another recent masterpiece by perhaps America's greatest filmmakers.