Umberto D. (1952) is one of the crown jewels of Italian Neorealism, directed by Vittorio De Sica. It’s a poignant, unflinchingly human story about dignity, loneliness, and survival in postwar Italy. Unlike Hollywood dramas, it doesn’t rely on big plot twists or glamour—its power lies in simplicity and raw emotion.
Detailed Summary
The Struggles of an Ordinary Man
The film follows Umberto Domenico Ferrari, a retired government clerk living in Rome on a meager pension. He’s an old man trying to hold onto his dignity in a society that seems to have forgotten him. His only companion is his loyal dog, Flike, who represents his last connection to love and purpose.
Umberto’s life is quietly tragic. His landlady, obsessed with turning his rented room into a luxury suite, threatens him with eviction. Despite his pride, Umberto tries to sell his belongings and even considers begging—but his dignity keeps him from doing so openly.
Friendship and Isolation
He finds brief comfort in his interactions with Maria, a young maid who’s also facing her own troubles—she’s pregnant and doesn’t know who the father is. Their friendship, though understated, highlights the theme of human solidarity in the face of social indifference.
Desperation in the Face of Poverty
As Umberto’s debts mount, his situation becomes increasingly dire. He falls ill and is hospitalized, only to discover that even there, people are indifferent to his suffering. When he returns home, he finds that his room is being renovated for wealthy tenants. He’s literally and symbolically displaced from society.
The Dog and the Ultimate Decision
With nowhere to go, Umberto wanders the city with Flike, his small dog. In one of the film’s most heart-wrenching sequences, he contemplates suicide. He tries to give Flike away to a good home but can’t bear to part with him. Eventually, he walks toward a passing train with Flike in his arms—planning to end both their lives.
Movie Ending
As the train approaches, Umberto hesitates. Flike struggles in his arms, terrified, and runs away. Umberto chases after him, desperately calling his name. After a few tense moments, Flike returns, cautiously wagging his tail. The two walk off together into the park, playing as children run nearby.
It’s an ambiguous ending—there’s no triumphant resolution or clear sign of salvation. Umberto is still homeless, still poor, but there’s a faint glimmer of hope in his bond with Flike. De Sica masterfully leaves viewers suspended between despair and tenderness, showing that even in the darkest circumstances, life—and love—persist.
Are There Post-Credits Scenes?
No, there are no post-credits scenes. The movie ends quietly with Umberto and Flike walking away, fading into uncertainty—perfectly in line with the film’s realistic tone.
Type of Movie
Umberto D. is a neorealist drama. It focuses on the struggles of everyday life, using non-professional actors, real locations, and a documentary-like style to portray postwar Italian society. It’s not a film about plot twists—it’s about truth.
Cast
- Carlo Battisti as Umberto Domenico Ferrari
- Maria Pia Casilio as Maria the maid
- Lina Gennari as the landlady
- Napoleon the dog as Flike
Carlo Battisti was not a professional actor but a university linguistics professor—De Sica cast him for his natural demeanor and authenticity.
Film Music and Composer
The score was composed by Alessandro Cicognini, a frequent collaborator with De Sica. His music subtly underlines the emotional weight of the film without overwhelming it. The sparse use of strings gives the story a sense of melancholy and quiet humanity.
Filming Locations
The movie was shot entirely in Rome, Italy, particularly in working-class neighborhoods and real streets—not studio sets. This was crucial for maintaining the authenticity of Italian Neorealism. The crumbling postwar architecture and crowded streets reflect Umberto’s decaying social position and the city’s indifference to individual suffering.
Awards and Nominations
- Nominated for Best Screenplay at the Academy Awards (1957)
- Won Best Foreign Film from the New York Film Critics Circle
- Won National Board of Review Award for Best Foreign Film
Although it wasn’t a box-office hit in Italy (some considered it too bleak), it became one of the most influential films in cinema history.
Behind the Scenes Insights
- Vittorio De Sica considered this his favorite film, even more than Bicycle Thieves.
- The lead actor, Carlo Battisti, was 70 years old and had never acted before.
- The dog Flike became a fan favorite, and De Sica spent weeks finding the perfect animal with the right expressive eyes.
- The film faced criticism from the Italian government for portraying postwar poverty too honestly—they called it “defeatist.”
- Many scenes were filmed secretly on real streets to capture genuine human reactions.
Inspirations and References
The film wasn’t based on a specific book but was inspired by the real social conditions of postwar Italy. De Sica and screenwriter Cesare Zavattini aimed to depict the struggles of the elderly and poor—people often ignored by society. Zavattini once said the film was “about a man who has only his dog left to love him.”
Alternate Endings and Deleted Scenes
De Sica reportedly filmed multiple versions of the ending, including one where Umberto successfully finds shelter for himself and Flike. However, he chose the ambiguous version to stay true to Neorealist principles—avoiding artificial hope or melodrama. Some minor scenes showing Umberto’s daily life were also cut to maintain pacing.
Memorable Scenes and Quotes
Key Scenes
- Umberto standing silently in the hospital, realizing no one cares whether he lives or dies.
- The heartbreaking sequence where he tries to find someone to adopt Flike.
- The final train scene, balancing despair and fleeting hope.
Iconic Quotes
- Umberto: “A man without a home is nothing.”
- Maria: “Sometimes it’s easier to talk to animals. They don’t judge you.”
- Umberto (to Flike): “At least you understand me, don’t you?”
Easter Eggs and Hidden Details
- De Sica subtly includes posters and signs of modern consumerism in the background to contrast Umberto’s poverty.
- The number “13” frequently appears (on buildings and buses)—a symbol of bad luck in Italian culture, mirroring Umberto’s fate.
- Flike’s name is a play on the Italian word “felice,” meaning “happy,” used ironically.
Trivia
- De Sica risked his reputation and finances to make Umberto D., as studios were reluctant to fund such a “small” story.
- The film is considered one of Akira Kurosawa’s favorite movies of all time.
- Many film scholars regard Umberto D. as the “purest” form of Neorealism ever achieved.
- The Vatican praised the film’s humanism despite its bleakness.
Why Watch?
Watch Umberto D. if you love films that make you feel something real. It’s not about special effects or plot twists—it’s about human dignity in the face of despair. It’ll make you think about your grandparents, your pets, and the quiet struggles people endure every day. Bring tissues.
Director’s Other Movies
- Bicycle Thieves (1948)
- Shoeshine (1946)
- Miracle in Milan (1951)
- Two Women (1960)
Recommended Films for Fans
- Bicycle Thieves (1948)
- Tokyo Story (1953)
- A Man Escaped (1956)
- Ikiru (1952)
- The 400 Blows (1959)
