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Umberto is an upright and correct man. The style of his clothes shows that he was once in better circles. Now he is a pensioner, but the state's income is not enough to live on. Not even for his sparsely furnished room and a decent meal. Umberto and his dog are threatened with dismissal by the greedy landlord if he does not pay the increased rent. It's a shame, because she rents his room in the afternoon to couples who use his bed. Vittorio de Sicas Umberto D. shows a man's fall from poverty to homelessness. Of all Italian neorealistic films, Umberto D. is certainly the best. Simply because he is himself. Umberto D. tells his story without digression or lying dramatic effects. Even Umbertos dog is introduced without sentimentality - and that is unusual enough for a film in which a dog is involved! Umberto loves his dog and the dog loves him because that's his nature. The film never runs the risk of turning Umberto into a typically lovable Hollywood grandpa. Umberto just wants to be left alone and we can only hope that in his situation we would react the same as he did: Courageous and imaginative. The movie follows him as he becomes aware of the possibility of actually having to leave his room. Umberto always paid his bills, but this month it won't be enough. During the opening sequence we experience Umberto protesting with other old people against the low pensions. We know this from the media. But then de Sica does something that only FILM can do: He tells Umbertos personal fate. He, one of the crowd of demonstrators. That's how we are introduced to his life.