Cinema and poetry in dialect

The 1948 Italian film Ladri di biciclette (Bicycle Thieves), directed by Vittorio de Sica, stands as a poignant portrayal of the struggles faced by a father and son in post-World War II Rome.

_{Still from “Ladri di biciclette”}

Bicycle Thieves The narrative revolves around their quest to retrieve a stolen bicycle, vital for the father’s employment and the family’s sustenance. Notably, the film employs a neorealistic approach, a cinematic movement characterised by a documentary-like objectivity. In Ladri di biciclette many roles are played by non-professional actors, to provide what was considered a more authentic depiction of post-war life. Neorealism’s hallmark traits include a focus on the poor and working-class, on-location filming, and a commitment to portraying reality with moral significance. The movement rejects studio settings, preferring natural environments, and embraces natural speech without dubbing.

By choosing events and characters from humble contemporary life, employing non-professional actors, and showcasing real locations.

_{Still from “Roma città aperta”}

Did dialects lose their vitality?

This linguistic amalgamation showcases a strong expressive originality, frequently fuelled by social and occasionally political polemic.

Generally speaking, the choice of dialect is motivated by the rejection of a language, Italian, perceived as exhausted or burdened by literary excess. The conscious adoption of dialect serves as a renewed means of expression, distancing itself from the perceived limitations of the dominant literary language. By consciously embracing dialect, these poets not only reinvigorate a linguistic tradition but also challenge the literary norms and expectations associated with the standard language, carving out a distinctive space for their artistic expression.