Il Sole Sorge Ancora 1946 ITA HARDSUB DEU SUB SPA XviD

Year: 1946
Country: Italy
Director: Aldo Vergano
Cast: Elli Parvo, Massimo Serato, Lea Padovani, Carlo Lizzani
IMBD: Link

Language : ITA HARDSUB DEU
Subtitles : Spanish





Not long after the publication of “Per i martiri di Piazzale Loreto,” Alfonso Gatto appeared in his first feature film: Aldo Vergano’s Il sole sorge ancora. He was joined by several other notable first-time actors: the poet and novelist Stefano Terra, the author of Rancore and other significant post-war chronicles; the playwright and critic Ruggero Jacobbi, who worked on the film’s screenplay in addition to acting in a minor role; the film critic Glauco Viazzi, one of the central figures at the journal Cinema before the liberation, afterwards an influential commentator on Italian neorealism; Gillo Pontecorvo, at the time a foreign correspondent for La Repubblica, later to gain renown as the director of Kapò (1959) and La battaglia di Algeri (1966); Carlo Lizzani, a critic and screenwriter as well as one of the film’s assistant directors, who would go on to achieve his own lasting fame as a director in the years to come. While in interviews Vergano tended to speak of Il sole sorge ancora’s many amateur actors as an example of standard neorealist practices, his reviewers seem instead to have found something rather more remarkable about the film’s high-profile players, whose artistic accomplishments and intellectual promise lent Vergano’s work an evident cultural authority. What was not commented on at the time, but is particularly striking in retrospect, is the confluence between the film’s narrative of political redemption and the intellectual journey documented in the work of Gatto and the other artists and critics who joined him on set. Indeed, one way to understand Il sole sorge ancora is to see it as a choral representation of the unfolding conversion of the generation of poets, novelists, playwrights, screenwriters, directors, and critics whose mission was to convert the “old” culture to the “new” while transforming their own subjectivity in their pursuit of neorealism. The film is structured on a series of plot reversals that, taken together, dramatically enact Italy’s ongoing political transformation. The first and final scenes, for instance, present mirror images of a sort, framing the film’s conversion narrative. In the first, a group of musicians outside the Milanese brothel play “Il tamburo della banda d’Affori” (The drum of the Affori band), a song that, in its original form, had become popular with disillusioned Italians after it had been censored by the Fascist government; the authorities took its reference to a bandleader directing “550 pifferi [550 fifes]” to be a mockery of Mussolini and the Chamber of Fasci and Corporations, with its 550 delegates. In the film’s final scene, a band is once again playing, but this time theirs is a song of celebration, not delusion, of unity, not dissent, performed in honour of the partisans’ victory. Bracketed by these two musical scenes, Cesare, the film’s protagonist, undergoes a related transformation. At the brothel, he had expressed a certain cynicism about civic duty, explaining his desire to return home to a quiet life: “se scappano il Re e Badoglio [if the King and Badoglio can flee],” he asked one of the prostitutes, “perché non dovrei scappare io? [why shouldn’t I?]” At the film’s conclusion, he evinces a newfound spirit of solidarity, telling Laura of the message he learned from another partisan: “sai Beppe cosa diceva quando eravamo in montagna? Se dovessi morire, [...] cercate di vivere anche per noi [You know what Beppe used to say when we were in the mountains? If I should die, [...] try to live on for us].” From a position of self-interest, in other words, Cesare has passed to one of fellow feeling, a transformation he expresses in resonant terms: lexically as well as politically, his “I” has become a “we.” The terms of this personal conversion, inspired by participation in the anti-Fascist Resistance, are in fact the central motif of the film, which stages this socially significant passage from singular to plural, from personal dissent to collective rebellion, as its central structuring mechanism.

As one of the first reviews of Il sole sorge ancora aptly put it, “il film vero non è nelle passioni dei singoli, bensì in quelli delle masse [the essence of the film is not to be found in the passions of the individual characters but in those of the masses].” (Charles L. Leavitt IV)

[ About file ]

Name: Il Sole Sorge Ancora.Aldo Vergano.1946.avi
Date: Mon, 19 May 2025 01:28:20 +0200
Size: 1,206,341,632 bytes (1150.457031 MiB)

[ Magic ]

File type: RIFF (little-endian) data, AVI, 528 x 400, 25.00 fps, video: XviD, audio: Dolby AC3 (stereo, 48000 Hz)

[ Generic infos ]

Duration: 01:33:05 (5585.28 s)
Container: AVI OpenDML
AVI has index: Yes
Total tracks: 2
Track nr. 0: video
Track nr. 1: audio
ISFT: VirtualDubMod 1.5.4.1 (build 2178/release)
IAS1: ???
Junk: VirtualDubMod build 2178/release

[ Relevant data ]

Resolution: 528 x 400
Width: multiple of 16
Height: multiple of 16
Average DRF: 4.13759
Standard deviation: 0.944794
Std. dev. weighted mean: 0.538349

[ Video track ]

FourCC: xvid/XVID
Resolution: 528 x 400
Frame aspect ratio: 33:25 = 1.32 (~4:3)
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[ Video bitstream ]

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I-VOPs: 1036 ( 0.742 %)
P-VOPs: 70060 ( 50.175 %) ##########
B-VOPs: 68536 ( 49.083 %) ##########
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[ DRF analysis ]

average DRF: 4.13759
standard deviation: 0.944794
max DRF: 7

DRF<2: 0 ( 0.000 %)
DRF=2: 3669 ( 2.628 %) #
DRF=3: 38184 ( 27.346 %) #####
DRF=4: 37576 ( 26.911 %) #####
DRF=5: 55986 ( 40.095 %) ########
DRF=6: 3903 ( 2.795 %) #
DRF=7: 314 ( 0.225 %)
DRF>7: 0 ( 0.000 %)

I-VOPs average DRF: 3.201737
I-VOPs std. deviation: 0.626658
I-VOPs max DRF: 4

P-VOPs average DRF: 3.384156
P-VOPs std. deviation: 0.63438
P-VOPs max DRF: 6

B-VOPs average DRF: 4.921924
B-VOPs std. deviation: 0.438849
B-VOPs max DRF: 7

This report was created by AVInaptic (01-11-2020) on 26-05-2025 13:10:30