Roma, ciudad abierta

In Nazi occupied Rome, German SS is hunting for engineer Giorgio Manfredi who is a leader of the communist resistance. He escapes looking for fellow fighter Francesco and finds his pregnant fiancée Pina. Catholic priest Don Pietro Pellegrini helps but he's under surveillance.

It's a minor miracle that Roberto Rossellini achieved so much so soon after the end of the war. On the other hand, when Pina points to a bomb damaged building, a bomb probably did damage that building. It is considered a great example of neorealism although he had fewer unreal sets that he could use anyway. The one scene where Pina is chasing after Francesco being arrested is one of the great scenes of cinema. It is dynamic and visceral. One can really feel the action more than most war action scenes of its time.

In Axis-controlled Rome, a strong-willed priest Aldo Fabrizi (as Pietro Pellegrini) plans to officiate the marriage of matronly and pregnant Anna Magnani (as Pina) while assisting a resistance leader Marcello Pagliero (as Giorgio Manfredi) hunted by the Nazis. This neo-realistic classic has shown its seams, over the years; in my most recent viewing, the soundtrack music, while not bad in itself, would have added much by its exclusion. Still, this is a powerful drama, with chilling last scenes involving the principal characters that do not diminish in their intensity. This was widely considered the best foreign language film of the year, by which time director Roberto Rossellini had released the similarly acclaimed "Paisan" (1946).

******** Roma, citta aperta (9/27/45) Roberto Rossellini ~ Aldo Fabrizi, Anna Magnani, Marcello Pagliero, Maria Michi

Rosselini shot 'Roma Città Aperta' in the open streets post-war. His film-making resources were limited, as is apparent in the film, since he uses natural lighting, non-professional actors and a delicate sound system) but it only gives the film a stark and more authentic look making the atmosphere more terrifying and a the experience more real. Most of the 'props' and 'sets' and even many of the Nazi soldiers were real. Unlike many historical films, this one does right by the historical facts (even though it's a work of fiction).

What is most outstanding is Rosselini's compelling storytelling. Instead of showing us a documentary account (due to lack of film-equipments) he gives us a moving story of resistance. I was also impressed by the subtle way he brought out the characters such as the homosexuality of the Nazis. He also extracts marvelous performances from his actors. Aldo Fabrizi and Anna Magnani stand out. The background score (though used minimally) adds some melodrama but not in a poor way.

If one can look beyond the poor technology of the film, 'Roma Città Aperta' is one of the most powerful films of its genre. Though the film may depress, and at some point horrify the viewer, the ending is profound and hopeful. In the end, it's a story about fear, courage, integrity and hope.

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.

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).