Roma, ciudad abierta

Rome after the Second World War was a damaged, destroyed city. The huge film industry that had once been known all over Europe was, quite literally, in ruins.

Hence, when Roberto Rossellini took up his camera in 1945 to start shooting 'Open City', he was forced to make due with quite a few limitations: using scavenged film stock, whatever kind he could get his hands on; shooting outside and on location; and employing a much more dynamic, though much less controlled, form of cinematography than Italian cinema had previously seen. The result was an unpolished, rough gem of a film that, in addition to its many contributions to the evolution of cinema, left the pre-war Italian super-spectacle in the dust.

In terms of story, 'Open City' is pure melodrama; and a pretty, darn affecting one at that. Thematically, it's socialist, a reaction against the fascism, personified by Mussolini, that had just been defeated in Italy. But, it is in its style that the film truly stands out.

With 'Open City', Rossellini succeeded in taking adverse conditions and using them to craft a solid, emotional tale of the Italian resistance. In the process, he solidified the aesthetic of an entire film movement: Italian Neorealism.

The film is recommended to anyone who enjoys a good story, is interesting as an artifact of its historical period, and is absolutely indispensable to anyone with at least a passing interest in the history of cinema.

Over time, Rossellini's legacy has been overshadowed by that of his contemporaries Fellini and de Sica. There are reasons for this. Fellini had a unique cinematographic eye and a gift for abstract symbolism. De Sica was able to capture the incidental and indeterminate in a way that practically elevated it to the level of the holy. His use of non-actors was far more effective than Rossellini's, as was Fellini's use of actors. Rossellini's scripts were often two-dimensional, his cinematography spotty and his editing odd. So why is it that he occupies a leading position among Italian auteurs?

In fact, Rossellini was not a neo-realist, but a realist. Compared with products of the neo-realists, his films are thin and wooden. If, on the other hand, one views them as works of tragedy, they are excellent. From the very start of Open City, it is clear that the seeds of disaster are sewn. A pregnant mother is to be married to a member of the resistance. Members of the clergy and children are also involved in fighting the Nazis. Italians are united against a common enemy: Fascism. Yet we know that, while victory is inevitable, so is death. Perhaps it is the darkness of the tight, seedy interiors that tips us off. Perhaps it is because we do not feel that sense of endlessness beyond the screen, but that we are being led through these building and streets along with the characters. Perhaps is is the German marching songs. Whatever it is, we feel the march of destiny leading us to some terrible conclusion. Fate can never play a role in neo-realist work; by Bazin's definition, it is constructed organically and arrives at its destination as if by chance. Tragedy can only be the purview of the realist.

Open City is not without its liabilities. For one, Arata's cinematography, while startling at times, is unsatisfactory at others. The script, written by Fellini and Amidei, is confusing and allows for minimal character development. [N.B.: The English subtitles add to this confusion, excising whole chunks of crucial dialogue.] Several of the performances are undynamic, such as those of Maria Michi and Carla Rovere; the villains, portrayed by Giovanna Gallett and Harry Feist, are very much "in type"; Aldo Fabrizi, who, as Don Pietro, is so central to the plot, is guilty of overacting. Above all, one doesn't get the sense that Rossellini's camera "falls in love" with its subjects the way that one might wish it did. Yet it is in this very impassiveness, this plastic script and detached camera, that the key to Open City lies. This is not a film about a painter and his son, nor does it lovingly portray an old pensioner and his dog. This film is about the horrors of war, not a subject for which Rossellini expects to find an empathetic audience. In the absence of footlights and the invisible "third wall", he uses the greatest tool at his disposal to create tragic theater: our own lack of nobility.

Open City is a portrait of human courage in the face of overwhelming odds. It confronts us with horrors which, God willing, we may never know. Don't watch it expecting to fall in love with the grittiness of World War II era Italy. Expect to be deeply moved.

It is hard to overestimate the influence of "Rome, open city" on the history of film.

There is much debate if "Rome open city" is the first neo realist movie. Some are of the opinion that already "Ossessione" (1943, Luchino Visconti) complied with the characteristics of this movement, although one can also classify this movie (based on a novel by James M. Cain) as film noir. There is however little discussion about the fact that "Rome, open city" was the breakthrough of neo realism.

Prepared during war time, shot while the Second World War was still raging in parts of Italy this film bears all characteristics that would become the trade marks of neo realism: shot on location, mostly non professional actors and a real life story adjacant to a documentary. Unlike the Danish "dogma" movement decades later these choices were not entirely made out of free will, but largely inspired by the lack of infrastructure after the Second World War. "Rome, open city" is for example shot with film stock that is definitely second rate. This is of course not a trademark of neo realism, there simply was no film stock of better quality available.

Most of the actors were non professional, but there were a few exceptions. Anna Magnani was one of the exceptions and after "Rome, open city" she went on to become a big star that worked with great Italian directors like Fellini, Visconti and Pasolini. In "Rome, open city" she dies halfway, but her dying scene is realy heartbreaking. A few years later she would shine as a mother who would do anything to make her daughter a moviestar in "Bellissima" (1951, Luchino Visconti).

Anna Magnani is by far the most well known actress from "Rome, open city", but I would like to also call attention to some of the other actors.

Maria Michi is a beautiful girl working in a cabaret who is addicted to drugs (and luxuries) and so becomes dependend on the Nazi's. After "Rome, open city" Michi would also play in Rossellini's "Paisa" (1946) but after that her career came to a halt.

Even less impressive is the career of Harry Feist, who plays the evil German. In fact "Rome, open city" would remain his only film of importance. Remarkable to me was his physical likeness with Donald Sutherland in "Novecento" (1976, Bernardo Bertolucci), who also plays a Second World War villian in that movie.

After "Rome, open city", which is situated in occupied Italy, Rossellini made two other war movies. "Paisa" (1946) is about the liberation of Italy by the Americans, "Germania anno zero" (1948) is about Germany after the war.

"Rome, open city" is famous as the breakthrough of both neo realism and Anna Magnani, and rightly so. It is however not the best neo realist movie (nor the best movie of Anna Magnani, of whom I like the aformentioned "Bellissima" more). The film has some flaws, and these are not all attributable to the difficult circumstances under which it was produced. The monologue of the disillusioned German Captain Hartmann, openly criticizing the "Third Reich" with other German officers present, does not seem very realistic to me.

As a director Roberto Rossellini thus had his limitations. My favourite neo realist director was and remains Vittorio de Sica, with masterpieces such as "Bycicle thieves" (1948) and "Umberto D" (1952).

Roberto Rossellini's Open City contains characters so real and emotions so powerful that it is not unusual for audiences to wonder whether the drama being played out on the screen is in truth a bona fide documentation of events surrounding the Italian Resistance during WWII. A study of the production history reveals that the film is closer to a combination of pure documentation (most accounts will go into detail about the location shooting and the presence of real soldiers) and dramatic reconstruction of actual events (like the execution of priest Don Morosini by the Nazis) with some lyrical filmmaking thrown in for good measure (I still get chills down my spine when I hear the children whistling in defiance of their oppressors). Anna Magnani, one of the greatest performers in the history of Italian cinema, is absolutely amazing in this film.

Open City, a powerful Italian film directed by Roberto Rosselini in 1946, is a historically-based story of the Italian Resistance movement and its struggle against Nazi occupation. The film is a searing indictment of the Nazis and a powerful portrayal of the dignity and courage of the Italian Resistance fighters.

With the city's studios destroyed, Rosselini was forced to shoot his film in the streets on stock that was purchased bit by bit, then taped together. It was shot almost immediately after the city was liberated from the Germans while the Germans still occupied the streets. Naturally, the quality of the print (although on DVD) is limited by the kind of stock that had to be used. The resulting film, however, is unique and deeply moving, and is a film of historic importance.

Open City was the first of the great Italian Neo-realist films (followed by Paisan, The Bicycle Thief, Shoeshine, I Vitteloni, and Umberto D). These films were characterized by the use of non-professional actors, natural lighting, location shooting, the desire to get closer to everyday reality, and the struggle for dignity of the masses of people.

Though I strongly recommend this film, there are a few minor quibbles. The Nazi leaders are portrayed as homosexuals who are associated with a decadent life style. This is contrasted with the Resistance representing the church and the family. Though I do not grant the Nazis much in the way of humanity, I think these broad strokes only obscure rather than clarify. Likewise, there is an over- identification of the Resistance as Communist. Though the Communist Party made up a good part of the Resistance, it also included Christian Democrats and Socialists.

Open City, though depressing in its presentation, remains hopeful. This hope for the future is symbolized at the end of the film by the children making their way back down into the streets of Rome after witnessing an execution. This attitude is also expressed by Francesco as he talks to Pina (Anna Magnani) in the flats, "We must believe it, we must want it,, We musn't be afraid because we are on the just path.We're fighting for something that must come. It may be long..it may be difficult, but there'll be a better world."

56 years later, we're still waiting.