Rome, Open City
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| Rome, Open City | |
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 Theatrical poster |
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| Directed by | Roberto Rossellini |
| Produced by | Giuseppe Amato Ferruccio De Martino Roberto Rossellini |
| Written by | Sergio Amidei Federico Fellini Story: Sergio Amidei Alberto Consiglio |
| Starring | Aldo Fabrizi Anna Magnani Marcello Pagliero |
| Music by | Renzo Rossellini |
| Cinematography | Ubaldo Arata |
| Editing by | Eraldo Da Roma |
| Distributed by | Minerva Film Spa |
| Release date(s) | September 27, 1945 |
| Running time | 105 minutes |
| Country | Italy |
| Language | Italian German |
| Allmovie profile | |
| IMDb profile | |
Rome, Open City (Italian: Roma, città aperta) (1945) is an Italian war drama film, directed by Roberto Rossellini. The picture features Aldo Fabrizi, Anna Magnani, and others, and is set in Rome during the Nazi occupation in 1944.
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[edit] Plot
As Nazi soldiers march around town, Giorgio Manfredi eludes them by jumping around roofs.
A priest, Don Pietro Pellegrini, helps the resistance by transmitting messages and money. Don Pietro is scheduled to officiate Pina's wedding. Francesco, her betrothed, is not very religious, but would rather be married by a nationalist priest than a fascist official.
Her son, Marcello, and his friends have a small role in the resistance. Pina's sister befriends Marina, Giorgio's former girlfriend, who betrays the resistance in exchange for drugs, fur coats, and other creature comforts.
The Gestapo commander in the city, with the help of the Italian police commissioner, captures Giorgio and the priest, and interrogates Giorgio violently.
They attempt to use Pietro's religious beliefs to convince him to betray his cause, citing that he allies himself with atheists. Pietro responds that anyone who strives to help others is on that path of God whether they believe in Him or not. They then force Pietro to watch as Giorgio is tortured to death. When Don Pietro still refuses to crack, he is executed.
[edit] Production
In August of 1944, just two months after the Allies had forced the Germans to evacuate Rome, Rossellini, Federico Fellini, and Sergio Amidei began working on the script for the film. The devastation that was the result of the war surrounded them as they wrote the script.
Shooting for the film began in January of 1945. The only two professional actors in the cast were Aldo Fabrizi and Anna Magnani.
Four interior sets were constructed for the most important locations of the film.
Rossellini relied on traditional devices of melodrama, such as identification of the film's central characters and a clear distinction between good and evil characters.
Legend has it that the actual film stock was put together out of many different disparate bits, giving the film its iconic documentary or newsreel style. But, when the Cineteca Nazionale restored the print in 1995, "the original negative consisted of just three different types of film: Ferrania C6 for all the outdoor scenes and the more sensitive Agfa Super Pan and Agfa Ultra Rapid for the interiors." The previously inexplicable changes in image brightness and consistency are now blamed on "poor processing (variable development times, insufficient agitation in the developing bath and insufficient fixing).[1]
[edit] Cast
- Aldo Fabrizi as Don Pietro Pellegrini
- Anna Magnani as Pina
- Marcello Pagliero as Giorgio Manfredi, alias Luigi Ferraris
- Vito Annichiarico as Marcello, Pina's son
- Nando Bruno as Agostino, the Sexton
- Harry Feist as Major Bergmann
- Giovanna Galletti as Ingrid
- Francesco Grandjacquet as Francesco
- Eduardo Passarelli as neighborhood Police Sergeant
- Maria Michi as Marina Mari
- Carla Rovere as Lauretta, Lauretta, Pina's sister
- Carlo Sindici as Police Commissioner
- Joop van Hulzen as Captain Hartmann
- Ákos Tolnay as Austrian deserter
[edit] Critical response
Since early on, this film has been considered a quintessential example of neorealism in film, so much so that together with Paisà and Germania anno zero it is called Rossellini's "Neorealist Trilogy." Robert Burgoyne called it "the perfect exemplar of this mode of cinematic creation [neorealism] whose established critical definition was given by André Bazin."[2] More recent scholarship points out that this film is actually less neo-realist and rather melodramatic.[3] Critics debate whether the pending marriage of the Catholic Pina and the communist Francesco really "acknowledges the working partnership of communists and Catholics in the actual historical resistance."[4]
Bosley Crowther, film critic for The New York Times, gave the film a positive review, and wrote, "Yet the total effect of the picture is a sense of real experience, achieved as much by the performance as by the writing and direction. The outstanding performance is that of Aldo Fabrizi as the priest, who embraces with dignity and humanity a most demanding part. Marcello Pagliero is excellent too, as the resistance leader, and Anna Magnani brings humility and sincerity to the role of the woman who is killed. The remaining cast is unqualifiedly fine, with the exception of Harry Feist in the role of the German commander. His elegant arrogance is a bit too vicious—but that may be easily understood."[5]
[edit] Distribution
The film opened in Italy on September 27, in 1945, with the war damage to Rome not yet repaired. The United States premiere followed on February 25, 1946 in New York. The American release was censored, resulting in a cut of about 15 minutes.
The film was banned in several countries. An example is West Germany which banned the picture from 1951-1960.
In Argentina, the movie was inexplicably withdrawn in 1947 following an anonymous government order.[6]
[edit] Awards
Wins
- Cannes Film Festival: Grand Prize of the Festival; Roberto Rossellini; 1946.
- Italian National Syndicate of Film Journalists: Silver Ribbon; Best Film; Best Supporting Actress, Anna Magnani; 1946.
- National Board of Review: NBR Award Best Actress; Anna Magnani; Best Foreign Film, Italy; 1946.
- New York Film Critics Circle Awards: NYFCC Award Best Foreign Language Film, Italy; 1946.
Nominations
- Academy Awards: Oscar; Best Writing, Screenplay, Sergio Amidei and Federico Fellini; 1947.
[edit] References
[edit] Notes
- ^ Forgacs, David. Rome Open City. London: BFI, 2000.
- ^ Burgoyne, Robert. "The Imaginary And The Neo-Real," Enclitic 3 1 (Spring, 1979) Minneapolis, University of Minnesota Press.
- ^ Hillman, Roger. "The Penumbra of Neorealism," Forum for Modern Language Studies, 38 2 (2002): 221 - 223.
- ^ Shiel, Mark. Italian Neorealism: Rebuilding the Cinematic City. New York: Wallflower Press (2006): 51.
- ^ Crowther, Bosley. The New York Times, film review, "How Italy Resisted," February 26, 1946. Last accessed: December 20, 2007.
- ^ Warren, Virginia Lee. The New York Times, "Delayed Censorship," December 7, 1947.
[edit] External links
- Roma, città aperta at the Internet Movie Database
- Open City at Allmovie
- Open City at Virgilioweb (Italian)
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