飞行员归来

　　1942意大利剧情战争片《飞行员归来》由罗伯托·罗西里尼导演，马西莫·吉洛蒂主演，影片讲述的是：
A Fascist pilot Lt Gino Rossati Massimo Girotti is flying a bombing run from Italy to Greece in the early spring of 1941 He is shot down by British aircraft and becomes a prisoner of war first of the British and later the Greeks In one of the prison camps he falls in love with Anna Michela Belmonte the teenage daughter of an Italian doctor The...[显示全部] films supervisor and story author Tito Silvio Mursino the screen pseudonym of Vittorio Mussolini was the son of Italys Fascist dictator Benito Mussolini
For the first time Ive seen a film by Roberto Rossellini prior to his Neorealist classics based on a story by il Duces son Vittorio Mussolini credited with the anagram Tito Silvio Mursino So by its date and origin it may be labeled a Fascist film but not surprisingly Rossellini avoids any overt reference to or exaltation of the regime from a screenplay cowritten with Michelangelo Antonioni among others At first I thought I was going to see a sort of Italian Top Gun as the movie takes around 20 minutes describing the activities of Italian pilots but soon the airplane of the title hero Massimo Girotti the star of Viscontis Ossessione is knocked down and he is imprisoned by the British officers Suddenly the hunter becomes the hunted and Rossellini elaborates on his belief that personal stories are illustrations of history and politics the pilot is nothing but a puppet of his countrys foreign policy Rossellini then describes the state of the prisoners as they endure cold hunger and disease and are taken by the British from an old farm to a port in the Mediterranean while bombs are dropped over roads fields and bridges to a patriotic ending that is revealed by the title Rossellini tells this story in 85 minutes with early examples of what Bazin would describe as image fact long takes where the camera moves including a 360° turn not to advance the story but to show the environment the conditions where the characters interact Rossellini narrates fast and synthesizes the fable though his economy was not determined as in Romà citta aperta by the surrounding events war showing the development of a style that would grow during the Neorealist movement

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