3 stages of Neorealism

 Ahmiir McIver

Neorealism 

    Looking at neorealism in the realm of filmmaking, it’s intriguing to see that it has played a part in making cinema have an extra layer of grit and reality to them. And after watching three films in Moonlight (2016), Killer of Sheep (1978), and Bicycle Thieves (1948). The use of neorealism in each of these three films were greatly portrayed in the world of cinema. 

    In the 1978 film Killer Sheep, there is not a clear narrative to the film to explain well enough. The best way I can describe the film’s narrative would be that the film depicts the culture of urban African-Americans in Los Angeles' Watts district. Looking at the main character of Stan, we see that he is a struggling family man who is just trying to make ends meet while working in a slaughter house to provide for his family. Depicting the neorealism in Stan’s struggle to make ends meet, we even see him being offered a job by a white woman at a convenience store, to show the audience the struggles that the character is going through. But in the case of neorealism that may be the film's strongest point is the fact that they shot on location in Watts, Los Angeles. Watts had and has developed a reputation as a low-income, high-crime area, following the Watts riots and the increasing influence of street gangs. So shooting this film on location in a location known for low class working African American Families gives this film a gritty layer of neorealism to it. 

    Looking at Moonlight which was released back in 2016, neorealism seen in this film can be attributed to it’s narrative and it’s structure. Out of the three films I viewed for this essay, I’d say that Moonlight is the most narratively structured  film out of the bunch. The way the story is told and the style of which it is done just screams neorealism. The narrative of watching an African-American male throughout the three generations of his life feels down to earth and to reality. And not only are we following him, we’re following his struggles as a gay man and being bullied for his sexuality. It gave the film a sort of a backdrop to tell its story using neorealism to show Chirons struggle on having to be sort of bullied and ostracized for his sexuality and lack of masculinity. 

    The last film I watched would be the 1948 film Bicycle Thieves.  The film follows the story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family. The story may be simple but it’s much more about the execution and smaller details that makes the story fit into an overarching narrative. Seeing the father go through so much in order to get his bike back was emotional and raw to watch, especially you know as a viewer, that the family sees this bike as a glimmer of hope that can lead them to a better life in post war Rome. The one aspect of this film that I loved a lot was the setting. This was set in 40’s Rome, post WWII. So you’ll see beautiful landscapes that immediately get thrown to the side in the next shot of a destroyed building. It was great to see the filmmakers film what they knew. They shot on locations that were decimated by war, and it helped convey this sort of dread throughout the film while the father was trying to get his bike back. It gave the film layers and relatability to the viewer. And also showed it’s pedigree with neorealism. 

    Looking at Neorealism through the lens of these three films, it’s safe to say that not only has it stayed a main staple in cinema. But it has also gone through a sort of renaissance with films such as Moonlight adapting the style made famous by Bicycle Thieves and Killer of Sheep.