Ingrid Bergman highlights in this compelling melodrama about a burgeois mother who becomes aware of the unfortunate social classes after the loss of a son. The film goes a step further and can also be read as the social portrait of the European status quo after the Great War. Some dialogs may appear evident and simplistic as far as ideology is concerned, but the impressive conclusion and the characteristic Rossellini's style makes it one of the most interesting films of his director and a valuable document about psychological war consequences which hasn't loose relevance.

EUROPA 51 is an odd film. Irene (Bergman) is the wife and mother in a rich family, in affluent surroundings. Hers seems a perfect world, but she is too self-centered to realize that her son needs attention and love.

EUROPA 51 reflects the situation in Europe in 1951, six years after the end of WW II. Work is scarce. poverty is rife, the impersonality of industry is overwhelming society, but against this general background some personal problems stick out: Irene focuses on being an adroit host and having her house spotlessly clean; her husband wrongly fears that she is cheating on him with a journalist; and their son feels ignored and throws himself down a staircase, with fatal consequences.

Irene feels very guilty about losing her son, moves away from home, and descends into the underworld of poverty, helping people in the process. This is where a memorable performance surfaces, by Giuletta Masina, the wife of famous Italian director Federico Fellini, who injects life into the whole movie, in contrast with Irene's increasingly quiet soul.

The fact that her own husband and circle of friends see her as approaching madness reflects the tragedy that tends to pursue the individual who dares to show feelings and concerns in relation to his/her fellow neighbor. In this case, Irene helps a number of people, takes genuine interest in their predicaments, but her reward is questionable: she sees her husband leave her behind the bars of a psychiatric ward, feeling intolerably lonely, but common people see her as a saint.

Ultimately, it is a film in equal measure wise and wayward. Perhaps I cannot avoid looking at it with 21st Century eyes, and I lack knowledge about the mindset of Italian society in the early 1950s. Still, I had a problem attaching credibility to this film.

That said, Bergman was never more physically stunning than in this film, and her acting is first class.

Director Rossellini shows steely determination driving forward this unusual film. Photography is quite good. Script is generally competent. Acting by Bergman and Masina is excellent, the rest of the cast, Knox included, does not shine so much.

The film's main flaw is that it is overlong by some 20 minutes, but any Rossellini-Bergman collaboration deserves attentive watching.

Irene (Ingrid Bergman) is a socialite married to George Girard (Alexander Knox). She neglects her son Michele and ignores his pleads. After his death, she suffers from guilt and starts helping people in need. Her communist cousin Andrea Casatti takes her to the other half of Rome. George is annoyed about her absences and accuses her of having an affair. She tries to help a young man and his parents. He had committed armed robbery and she pushes him to turn himself in. The police accuses her of helping him escape. George puts her in a mental asylum and abandons her. Her need to help others is declared insanity.

I like the idea of a saint in the modern world. The main drawback is that it's a little melodramatic at times. Ingrid Bergman is a glamorous star but her acting can sometimes be a little old school. This is a compelling story. The melodramatic touches may be better served with some simple grittiness. I rather she not break down in the asylum which would make her imprisonment more unjust.