Umberto D.

Key late neo-realist film, De Sica, 1952
Use of quite long shots, when outside, isolation
not that there aren't close-ups when necessary
the outside longer shots are with striking sillouhetted low angles, showing outside towering over him
move later on to Umberto himself shown with some heroic low angle framings
quite a wide lens early, in certain scenes (hospital) huge depth
seems to move to telephoto a bit; softens it up
wonderful creation of indoor space, long takes (not too noticeable, some pretty simple, standard, 135degreeish stuff), pans
bravura near 360 pans of Maria in the kitchen, and in Umberto's room
De Sica also uses space near and around the camera
use of dolly shots to close up for emotion; camera really mobile, floating
light always motivated. Not afraid to have the key's faces dark
largely, De Sica will use many styles. Light music in background and a couple of P.O.V. shots more directly dramatic than most of it
largely wonderfully underplayed by cast; some wonderfully lingering moments, little twitches, or no movements at all
symbol as well as literal role of the dog
use of the pound, among other locations, to convey situation
it is clear what is happening (friends reject etc), but avoids overdoing
really rather light for much, some little comedies and so on; non portentous tone
parable with the young also
a powerful tale, told very well