In my opinion, [Umberto D.] represents undoubtedly the apex of what can be considered the first phase of the Italian neorealism; it is also the closest and most precious attempt at "filmed life."…

In Umberto D. the symbiosis of Zavattini and De Sica has reached the most perfect fusion of style and message. The escapism of Miracle in Milan, the workman's tragedy in Bicycle Thief has risen to the pathos of loneliness in Umberto D. The film maintains the dignity of an art without compromise as it reflects the anguished conditions in post-war Italy. The pessimism is gradual. The squatters of Miracle in Milan do have hope and fly with their brooms to "where good morning really means good morning;" the unemployed Lamberto Meggiorani of Bicycle Thief is, on the other hand, shaken by despair; still, he is young and strong and his wife and son are symbols...