Film Review: Miracle in Milan (Miracolo a Milano, 1951)

Italian neorealism produced some of the most celebrated films in history, yet those films usually didn’t create as much enthusiasm among general audience as among the critics and film scholars. This often had to do with those films’ grim settings and downer endings. Vittorio De Sica, one of the masters of this genre, was apparently aware of this problem and sought to create something different with Miracle in Milan, his 1951 film that represent blend of neorealist style with comedy and fantasy.

The film is based on Totò the Good 1940 novel by famous screenwriter Cesare Zavattini, who adapted his work for screen together with De Sica. The protagonist, played by Francesco Golisano, is Totò, a young man found in a cabbage patch as a baby and raised by a kind old lady named Lolotta (played by Emma Gramatica). After her death, he ends up in an orphanage and eventually leaves to face the harsh streets of Milan. When Totò encounters a man named Alfredo (played by Arturo Bragaglia) who steals his bag, Totò's compassion and understanding lead him to offer the thief the chance to keep it. This kindness inspires Alfredo to share his small shack with Totò. As Totò thrives in this new environment due to his optimistic nature and organisational skills, he transforms an abandoned field into a shantytown that attracts more homeless people. The land is sold to businessman Mr. Mobbi (played by ,Guglielmo Barnabò) who initially ignores the squatters but changes his mind when he learns of their accidental discovery of oil deposits. Totò decides to resist eviction with the help of a magical dove sent by Lolotta from heaven, which grants wishes to those in need.

Miracle in Milan features elements of neorealism, such as black-and-white cinematography and non-professional actors, which included actual alcoholics and vagabonds from the streets of Milan. However, the tone differs significantly due to old-fashioned sentimentality reminiscent of silent cinema, particularly the socially conscious comedy classics by Charles Chaplin. This homage is evident in the final showdown scene, which incorporates slapstick humor and policemen resembling Keystone Kops.

De Sica's newfound optimism and faith in human goodness are best exemplified through Totò, a naive character who leads his followers to a better life. De Sica believed that happiness could be found even in mundane things, such as sunlight, and this is showcased in one of the film's funniest scenes. The director's Catholic faith also influences the film’s famous finale, which prominently features Milan Cathedral.

Although De Sica's concept remains strong throughout most of the film, he strays from it when divine intervention becomes a central aspect halfway through. While this adds interesting scenes, it feels unexplained. It also requires special effects, provided by Ned Mann, which would look quite dated today. Additionally, the portrayal of an African American character played by Jerome Johnson, in a romantic subplot with a white Italian woman, might be seen as insensitive today.

Despite these flaws, Miracle in Milan can still reach the hearts of modern audience thanks to its innocent protagonist, effective humour, little bit of romance through subplot featuring Brunella Bovo as Totò’s sweetheart and, most importantly, De Sica's skilfull direction, enhanced by Alessandro Cicognini's catchy theme song. The film's influence can be seen in works like Steven Spielberg's [E.T.] and Emir Kusturica's Time of the Gypsies, while its impact on the world literature is evident in the works of Colombian weroter Gabriel Garcia Marquez, who publicly credited De Sica’s film as inspiration that would start new genre called “magic realism”.

RATING: 7/10 (+++)

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