Chelsea the Cinéaste

Now widely regarded as an epoch-making masterpiece, premonitory of the rise of Italian modernism, Roberto Rossellini’s Viaggio in Italia (1954) suffered a thorough drubbing in its box office, though was greatly admired by auteurs like Francois Truffaut and Jean-Luc Godard. The film is, at its core, a bracing study on the fraught relationship of reverse elements- George Sanders and Ingrid Bergman played a British couple journeying to Naples to sell an inherited property; the husband is a stolid rationalist whilst the wife a sensitive romantic. Their glaring disharmony is more acted out through their overt disdain for one another; both are susceptible, the moment they touch down the foreign land, to the immaturity of making each other jealous to express their longing for mutual understanding. Amongst many of the couples’ venomous exchanges, the wife, on one occasion, recalls a past fancy for a now-deceased poet, to which the aggrieved husband responds derisively: “He was a fool… [

M (1931) was Fritz Lang’s first attempt at sound cinema, after an impressive corpus of silent classics including the Dr. Mabuse trilogy and Metropolis , the highly expressionist style of which earned him the epithet- the “Master of Darkness.” To be making films during the dawn of sound era, the filmmakers had the privilege and the license of exploring many unchartered territories- the effects of sound as incorporated with motions and images was a vitalising experimentation for many; given the luck and the inherent ingenuity an innovative work of art was engendered. Such is not to write off the many legendary figures as merely “chancing upon” innovations whilst experimenting without a definite aim, but to underline Lang’s remarkable assurance and skill of tackling a new medium like an old hand- as a seasoned auteur whose previous films were noted for their austerity of technique and style, Lang, throughout his long career, never once explored or experimented like a reckless adven