ROSSELLINI'S GERMANY YEAR ZERO. Creative Writing Essay.

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24 03 2021
ROSSELLINI'S GERMANY YEAR ZERO
Recorded in post-war Berlin, when the Nazis had just surrendered to the American and British Allied soldiers, "Germany Year Zero" was Roberto Rossellini's final unofficial World War II trilogy film. In contrast, the other two within the series, "Rome Open City" and "Paisan," religiously adhered to Zavattini's neorealism concepts. Germany Year Zero got admonished for diverging from the totality of neorealistic beauties and actualities since it incorporated studio shots with outdoor vérité footages. Notwithstanding, it is a film mixed with fiction and neorealism ideas that perfectly conveys the reality of Berlin post-WWII in a way that no modern recreation can rival.
In this 73-minute film, the Germans carry on with their daily survival techniques and are not bothered by the Holocaust or the atrocities orchestrated earlier by the Nazi Third Reich. The story circles around Edmund Kohler, a 12-year-old boy who dares patch a living to provide for his bed-ridden father (Ernst Pittschau), brother Karl-Heinz (Franz-Otto Krüger), and sister Eva (Ingetraud Hinzeand). The male family members unable to work, Edmund engages in all manner of illegal trading and businesses. He participates in black market trading, working illegally without a permit since he is a minor, and later joining a juvenile fraudster group. Through his daily wanderings among the city's rubbles and ruins, Rossellini depicts the accurate picture that boys his age faced in post-Nazi Germany. Most of them paid for the sins their parents had committed. In the unfortunate circumstances, some could not bear the burden and went through depression, eventually committing suicide, just like Kohler did in the end.
Zavattini's neorealism concepts dwell on having absolute trust in people, facts, and things in film production. It is a concept that demands us to dig up a reality, give it a series of reflexes, communication, and power in pre...