Not copyright 1948 by Lux Films. New York opening in a sub-titled version at the World: 18 September 1950. U.S. release through Lux Films (sub-titled version) on 21 September 1950 and through Italian Films Export (dubbed version) in 1952. London opening of the sub- titled version at the Rialto, around March 1950. U.K. release of this version through Gelardi, Rashbrooke. Australian release in an English-dubbed version by RKO Radio Pictures: 7 March 1952. Sydney opening at the Esquire. Running times: 112 minutes (Australia), 103 minutes (London), 107 minutes (New York), 93 minutes (U.S. dubbed version).
Original Italian title: RISO AMARO.
NOTES: Giuseppe de Santis and Carlo Lizzani were nominated for the 1950 Academy Award for Best Motion Picture Story, losing to "Panic in the Streets."
COMMENT: Italian films of the forties and early fifties always pose a bit of an aural dilemma for me. I mean the dubbing. On the whole, I have a preference for the English-dubbed version because in most cases the British or American stars post-sync their own voices, whereas in the Rome version, none of the players — aside from the really big stars like Anna Magnani, Gino Cervi and Amedeo Nazzari — are allowed anywhere near a microphone.
It's strange to hear Vittorio Gassman's distinctively throaty voice replaced by a bland radio actor's; and equally disconcerting to find Silvana's peasant girl speaking beautifully cultured high class.
Of course, "Bitter Rice" was such a sensational success, it launched not only Mangano, but Gassman and Vallone as well, on to the international scene. Gassman was offered a Hollywood contract and before long was co-starring opposite the likes of Elizabeth Taylor.
Mangano continued her career after marrying this film's producer in 1949. Incidentally, "Bitter Rice" was not her first film. She'd previously made L'elisir d'amore for director Mario Costa in 1947. And she was eighteen, not seventeen, when she starred in Riso Amaro.
Alas, the film did nothing for the waning career of that ultra- classy siren of "The Blue Dahlia", Doris Dowling. Forced to play second fiddle to Mangano, she's not only dowdily dressed but robbed of her distinctive voice.
I thought the attempt to marry documentary neo-realism with a melodramatic plot worked rather well. The realistic backgrounds made the story seem far more credible, whilst at the same time the more sensational aspects of the story lend an added power and poignancy to the plight of the rice workers. The four leading characters are skillfully delineated. The writers give them enough quirks to make their behavior and reactions individualistic without descending into caricature.
Director De Santis and photographer Martelli's probing camera explore the teeming settings to the full, assisted by a no-holds- barred budget and an appropriately atmospheric music score.
Original Italian title: RISO AMARO.
NOTES: Giuseppe de Santis and Carlo Lizzani were nominated for the 1950 Academy Award for Best Motion Picture Story, losing to "Panic in the Streets."
COMMENT: Italian films of the forties and early fifties always pose a bit of an aural dilemma for me. I mean the dubbing. On the whole, I have a preference for the English-dubbed version because in most cases the British or American stars post-sync their own voices, whereas in the Rome version, none of the players — aside from the really big stars like Anna Magnani, Gino Cervi and Amedeo Nazzari — are allowed anywhere near a microphone.
It's strange to hear Vittorio Gassman's distinctively throaty voice replaced by a bland radio actor's; and equally disconcerting to find Silvana's peasant girl speaking beautifully cultured high class.
Of course, "Bitter Rice" was such a sensational success, it launched not only Mangano, but Gassman and Vallone as well, on to the international scene. Gassman was offered a Hollywood contract and before long was co-starring opposite the likes of Elizabeth Taylor.
Mangano continued her career after marrying this film's producer in 1949. Incidentally, "Bitter Rice" was not her first film. She'd previously made L'elisir d'amore for director Mario Costa in 1947. And she was eighteen, not seventeen, when she starred in Riso Amaro.
Alas, the film did nothing for the waning career of that ultra- classy siren of "The Blue Dahlia", Doris Dowling. Forced to play second fiddle to Mangano, she's not only dowdily dressed but robbed of her distinctive voice.
I thought the attempt to marry documentary neo-realism with a melodramatic plot worked rather well. The realistic backgrounds made the story seem far more credible, whilst at the same time the more sensational aspects of the story lend an added power and poignancy to the plight of the rice workers. The four leading characters are skillfully delineated. The writers give them enough quirks to make their behavior and reactions individualistic without descending into caricature.
Director De Santis and photographer Martelli's probing camera explore the teeming settings to the full, assisted by a no-holds- barred budget and an appropriately atmospheric music score.