"The Children Are Watching Us" (1944) was the first film De Sica made in collaboration with the screenwriter Cesare Zavattini with whom he later made most of his films. The film works well as a sentimental introduction to his oeuvre. Already its title refers to De Sica's favorite subject of childhood which he studied all his life. In this film, he immerses into the realm of the child's gaze.
Although all the ingredients for a banal melodrama are present, De Sica eludes them with elegance. He does this precisely by focusing on the subject of childhood and, most importantly, on the child protagonist, his subjective experience and feelings of abandonment. Some may consider the adult characters of this divorce drama thin or black and white, and while this may be true, it is perfectly justified just as well because De Sica defines them by the child's point of view. Thus they are characterized by his mental distinctions, images and emotions.
As a matter of fact, the theme of watching is a leading idea in "The Children Are Watching Us". Throughout the film the protagonist observes his environment: the animals, the city, the puppet theater, the urban movement and, above all, the grown-ups. Not only is the familiar idea of the child's blaming gaze present but also his way of learning by imitation. A certain climax of this theme of watching can be seen in the scene where the boy and his father remain quiet, but experience a moment of understanding which De Sica depicts only by using extreme close-ups of their honest faces.
To go further in the analysis of the title, it should be noted that it is in plural, although there is really just one child, thus suggesting a more universal, moral message. The title is especially associated with the blaming gaze; that is to say, the child's ability to judge us by approval and disapproval. This is equivalent with the philosophy of De Sica's masterpiece "Bicycle Thieves" (1948) where a child character is used as a moral observer or, should I say, the protagonist's moral conscience.
In fact, a film historian Peter Bondanella has well noted that Roberto Rossellini's manifesto film of Italian neo-realism, "Rome, Open City" (1945) established children as the symbol for the future of Italy as a nation. This is evident in many films from the era and especially in De Sica's "Shoeshine" (1946) where boys must kneel down before American soldiers to shine their shoes. Although "The Children Are Watching Us" is completely free from such political thought as a sentimental drama, it gains its sadness from precisely similar elements "Shoeshine" does. In other words, the child protagonist feels emotionally helpless in a situation he doesn't understand, but what makes this even more poignant is the child's awareness of this situation; that is, of his own helplessness.
Although all the ingredients for a banal melodrama are present, De Sica eludes them with elegance. He does this precisely by focusing on the subject of childhood and, most importantly, on the child protagonist, his subjective experience and feelings of abandonment. Some may consider the adult characters of this divorce drama thin or black and white, and while this may be true, it is perfectly justified just as well because De Sica defines them by the child's point of view. Thus they are characterized by his mental distinctions, images and emotions.
As a matter of fact, the theme of watching is a leading idea in "The Children Are Watching Us". Throughout the film the protagonist observes his environment: the animals, the city, the puppet theater, the urban movement and, above all, the grown-ups. Not only is the familiar idea of the child's blaming gaze present but also his way of learning by imitation. A certain climax of this theme of watching can be seen in the scene where the boy and his father remain quiet, but experience a moment of understanding which De Sica depicts only by using extreme close-ups of their honest faces.
To go further in the analysis of the title, it should be noted that it is in plural, although there is really just one child, thus suggesting a more universal, moral message. The title is especially associated with the blaming gaze; that is to say, the child's ability to judge us by approval and disapproval. This is equivalent with the philosophy of De Sica's masterpiece "Bicycle Thieves" (1948) where a child character is used as a moral observer or, should I say, the protagonist's moral conscience.
In fact, a film historian Peter Bondanella has well noted that Roberto Rossellini's manifesto film of Italian neo-realism, "Rome, Open City" (1945) established children as the symbol for the future of Italy as a nation. This is evident in many films from the era and especially in De Sica's "Shoeshine" (1946) where boys must kneel down before American soldiers to shine their shoes. Although "The Children Are Watching Us" is completely free from such political thought as a sentimental drama, it gains its sadness from precisely similar elements "Shoeshine" does. In other words, the child protagonist feels emotionally helpless in a situation he doesn't understand, but what makes this even more poignant is the child's awareness of this situation; that is, of his own helplessness.