The problem is that it shows up all the problems and paradox's of the neo-realist doctrine. While attempting to record unfettered "reality" (real world locales, un-trained actors) it makes use of constraining dramatic devices, such as the ending on the train tracks- "highly emotional" and all, but in a way utterly false, pretentious and manipulative. Reality claims and artifice sit side by side uneasily in this one. It seems that age has merely shown up the films unabashed pandering and teasing of the audience now that the shadow of world war two seems so light and temporally removed (itself having become the subject of a far more virulent and counter-intuitive form of artifice: Hollywood doctrine). Deserves a look, but for a better example of how this general film ethos could work look up some of the 'cinema verite' of the following decades.