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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.

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.

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.

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

Photographed on scraps of film abandoned by German forces as they retreated from Rome toward the end of World War II, Roberto Rossellini's OPEN CITY was immediately hailed as a masterpiece of realism when it hit screens around the world in the late 1940s. Seen within the context of its time and with reference to the circumstances under which it was made, OPEN CITY is a staggering accomplishment; even so, by modern standards, it feels visually static and slightly contrived.

The great strength of the film is in the direct way Rossellini tells his story of Italian resistance fighters trying to dodge capture by the Nazis in occupied Rome--and in the performances of Anna Magnani and Aldo Fabrizi as two Italians who become increasingly caught up in resistance activities. But time has not been entirely kind to the film: the story seems somewhat superficial, portions of it lack expected intensity, and some performances seem more than a little artificial, with a lesbian subplot, the famous torture scenes, and Maria Mitchi's performance cases in point.

Ironically, these drawbacks actually result from comparisons with later, still more realistic films that followed its example--and it is a great tribute to the strength of the film that it survives the revolution it started as well as it does. (One does well to recall that at the time OPEN CITY was made such slick Hollywood films as MRS. MINIVER were considered the height of realism.) Still, because of these issues I would hesitate to recommend OPEN CITY as an introduction to Italian neo-realism for one not already well-versed in it. But those with an established appreciation of Italian cinema will find it very rewarding.

Gary F. Taylor, aka GFT, Amazon Reviewer

The physical quality of this film is off-putting,( the film makers had to use what they could find) but the overall impact is stunning. The talent involved in telling a simple story of outrageous courage is breathtaking. If action is your genre, stay away, but if you can handle a great story well told find a copy of this film. These people understood drama, life, and the human condition.

Like so many movies made during or shortly after WWII, this one reveals more about the circumstances of its creation than anything novel in the story line. Stock good guys and bad guys fill the screen, and the sombre tone of it all trumps any truly objective attempt to critique it according to some dispassionate set of standards. The fact that it was made at all and continues to be shown to appreciative audiences via cable television speaks for itself.

The strength of the production lies indeed in powerful individual scenes and some inspired acting. It captures attention from the beginning and holds the viewer rapt until the final minutes, even though the cinematic values are at best crude, requiring a forgiving eye. One identifies easily with its emotional force.

That said, its shortcomings are rather obvious. The Nazis are mainly not native speakers of German, with accents ranging from Dutch to Italian, and the one German officer who speaks ill of the "master race" is in his cups rather than a sober judge of the evil around him. The viewer would do well to remember that fascism in Italy was a homegrown phenomenon well before the Germans took over the show in 1944. Note how the Red Menace is thrown in the face of patriotic Italians as a ploy to gain their acquiescence to Nazi control. Elements of moral decadence among the evildoers likewise diminishes rather than enhances the proposition that they are rational perpetrators of that evil, bent on excusing their acts by twisting the truth to suit their own agenda.

Yet this was a contemporaneous Italian reflection on fresh history, and that cannot be faulted by 21st Century revisionists. It also restored a vital industry to Italy, and presaged many great films that followed it.

During the Nazi occupation of Rome, the resistance leader Giorgio Manfredi aka Luigi Ferrari (Marcello Pagliero) is chased by the Gestapo. His friend Francesco (Francesco Grandjacquet), who is going to marry the widow Pina (Anna Magnani), together with the priest Don Pietro Pellegrini (Aldo Frabrizi) help him to get a new identity and leave Rome. However, Manfredi is betrayed by his lover Marina Mari (Maria Michi) and arrested by the Germans.

"Roma, Città Aperta" is among the best movies of the cinema history, but in accordance with IMDb criteria, it is not listed in IMDb Top 250. This masterpiece is a milestone of the Italian Neo-Realism and was filmed by Roberto Rossellini when the economical and social structure of Italy was completely destroyed due to the World War II. Rossellini did not have money even to buy the negatives, which were given by his friends. He used ordinary people and real locations to shot the film, making a very authentic and realistic movie as if it were a documentary, and the negatives were only revealed in the end of the shootings. The Brazilian DVD released by Versatil distributor offers many Extras, including a magnificent documentary about the life of Roberto Rossellini. My vote is ten.

Title (Brazil): "Roma, Cidade Aberta" ("Rome, Open City")

The location: Nazi occupied Rome. As Rome is classified an open city, most Romans can wander the streets without fear of the city being bombed or them being killed in the process. But life for Romans is still difficult with the Nazi occupation as there is a curfew, basic foods are rationed, and the Nazis are still searching for those working for the resistance and will go to any length to quash those in the resistance and anyone providing them with assistance.

What a strange film, made in 1945 when World War II was anything but a memory. In fact, it was so recent that allegedly real German POWs were used as actors, and the man credited as the editor was actually in prison at the time. That is wild.

Sadly, the version I watched was of a fairly low quality. I suspect most (if not all) releases are. Is this fixable? Can they do a 4K scan of the negative (or whatever process is popular these days)? If so, this is a film that truly deserves it.

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).

The beginning for me felt quite slow and uneventful, as is characteristic of Italian neorealism. Italian neorealism likes to establish the normality of everyday activities which expresses the lives of locals, and being a pretty fast-paced person I did not like this much. Also, the dialogue delivery was a little awkward at first, but perhaps this could be a cultural difference in speech and conversation.

The acting was quite good. Magnani plays her part well, and her chemistry with Annichiarico is prominent, though not the same can be said between her and Francesco. She gives a moving performance in her last scene as well, with her desperation and emotions traversing the screen. Fabrizi as well gets into the shoes of his character well and plays the part of the priest convincingly. Francesco and Pagliero as part of the resistance to the Nazi occupiers don't really seem to be doing anything but talk. Understandably, they have to be cautious but I don't believe I actually saw them 'resisting' anything except via words. Well, there was an exchange with other rebels but it just seemed like they were pretty inactive.

Additionally, some characters are well developed, while others are ambiguous or stereotypical. Pina seems to be the protagonist and her character is pretty well established but she doesn't carry the narrative (not in the second half anyway). Don Pietro is another well established character who has no surprises. Francesco and Manfredi are depicted as the heroes but not in the conventional sense (as they don't do heroic stunts), and the other female characters in the film are shallow and presented as stereotypes.

The story doesn't flow in one continuous movement, and more or less feels like it plods along. There is a clear linear narrative, but it was just a little slow in the first half. Plus, there are a few discrepancies and ambiguity to what happens to some characters. I'm not sure if I missed some scenes (admittedly I fell asleep for a few minutes), but Francesco's character just disappears. Apart from that, there are some very saddening scenes which make this film quite depressing.

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A mediocre piece of realist propaganda, now elevated to the ranks of "film greats" because of its conformity to certain techniques of the era, this film has nothing to offer except rigid, clichéd "villains" (the Germans) and the "noble born oppressed" (Italians). It is sentimentalizing at its worse, I particularly found the portrayal of the German commander weak, as he looked like a gerbil, and did not seem very apt or capable. There is very little in the way of story and the expected brutality of the Germans is what takes up the greater part of the screen time, how predictable. . . . .

It is sentimentalizing at its worse, I particularly found the portrayal of the German soldiers weak, as they looked like gerbils, and did not seem very apt or capable. There is very little in the way of story and the expected brutality of the Germans is what takes up the greater part of the screen time, how predictable.

At least that is how I see it.

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.

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.

"It is easy to die with dignity,

it is much harder to live with dignity" (Padre Pietro)

Usually when I encounter commenting on WWII movies, I have mixed feelings. I am aware that it's hardly possible to fully evaluate their intensely diverse levels. The situation occurs even harder when commenting on such a legendary movie as ROMA CITTA APERTA. It seems that it is easier to end about it well but much harder to say about it so. Rossellini's movie is one of the true masterpieces dealing with WWII, a symbol of Italian Neorealism, a wonderful psychological insight into individual and social deeds. Moreover, it is the film made just in the core of those events, the Rome of the mid-1940s. All latest movies on WWII, though very well made, seem pale and only acted when comparing to this one. Let me discuss the movie in more details.

ROMA CITTA APERTA is a true INSIGHT into various CHARACTERS in their hard REALITIES that force them to particular deeds. They all cope with resistance from the German fascists who divided Rome into 14 zones and control it. The characters range from the simple Il Sagrestano, the engaged couple Francesco and Pina, young boys, devoted Padre Pietro, performer Marina to the most "wanted" man Giorgio Manfredi (a true character, the Communist Celeste Negavilla). They all cope with individual dramas combined with psychological tiredness: Pina plans to set up a family, yet fatal events of hatred do not allow for her happiness; one of the boys badly seeks a father, yet the army of death does not accept fathers or sons; some want careers as performers, yet the times force service to blind propaganda only; good Christians want to live with dignity and love, yet, the world can only offer humiliation and hatred in return. The satanic patience of the Nazis seems to win. And here arises a question: are they all forced to do things they'd never do?... That profound development of characters, though may seem too harsh for Germans, occurs to be especially thought provoking and psychological.

ROMA CITTA APERTA is filled with GENUINELY TOUCHING MOMENTS. Except for the final scene - the symbol of the movie when the sad boys walk to the city of Rome just after the execution=martyrdom of their earthly angelic tutor, Padre Pietro; I'll never forget Pina's death: supposedly so unnecessary as a loss of life but truly so significant as a cry for freedom and dignity. Anna Magnani does a terrific job in this scene, you as a viewer seem to shout with her in despair: "Francesco!" Another great moment is when Marcello, Pina's son, asks Francesco "Can I call you father?" This seems to symbolize that simple affection never dies and remains a genuine sign of hope in the world of madness and hatred. Besides, who can forget the moment when Francesco places hope in Pina that the future would bring life anew, dreams anew, happiness more stable. Throughout these moments, there is an intense atmosphere, something that keeps you on your chair speechless.

ROMA CITTA APERTA stands out as a movie with a very clever and profound SCRIPT. It thrilled me when Bergmann, with satanic irony, says to Padre Pietro "I DO NOT care about your rules!" and Padre answers calmly "But the One above you and me DOES" Hartmann's reflections on Nazis' deeds constitute an accurate psychology of doubt even among these "monsters". His character also atones a bit for the image of the Germans. But the final words about living and dying in dignity are the quintessential of the movie and leave a timeless message. But all the word "masterwork" sums up in another crucial aspect.

ROMA CITTA APERTA is one great harmony of flawless PERFORMANCES. Who comes to view as the superior cast is of course the unforgettable Anna Magnani. Her symbolic role of Pina representing the despair of the nation is one of the greatest masterpieces one can encounter in the history of cinema. I do not exaggerate: Anna does something above flawless acting: she IS Pina! Aldo Fabrizi gives a profound performance as Il Padre stressing right Christian attitude filled with love, justice, openness. Harry Feist does a terrific job as wretched Nazi officer Bergmann and Maria Michi as Marina of the Piburtina Street. This film deserves to bear a name "masterpiece" thanks to performances alone.

ROMA CITTA APERTA is undeniably one of the most precious pearls of human thought in cinema. It lifts up the mind and soul, beside all its content of war, death and cruelty, it still fills our minds with hope of the better world. Yet, eternal walk of humanity towards the gates of peace has not finished yet. However, as long as there are viewers who acquire the spirit of this movie, such walk does not occur in vain.

Oh Rome, the Eternal City, the Beloved City, the Historic Treasure of Humanity, Open Your Gates to Peace, Open the Gates of All Human Hearts!

In every way this film is gripping, moving, suspenseful, horrifying and beautifully performed. I'd never seen this ground breaking film nor did I think I'd want to spend several hours watching a film about Nazis. From the beginning I couldn't turn away. So many years after the time and events of this film it is chilling. It's been many years since I've seen The Damned and that film may not be an accurate comparison but the evil portrayed is done so that I feel the danger and the inhumanity of the German occupation. And its depravity. Outstanding performances. The children included. Anna Mangnani.... I can't describe her scene without it being a spoiler. The resistance leader. The courageous Father. Depravity versus the most enduring of mankind's needs ...to be free. Given the state of the world that struggle continues in places where equal courage is needed to be defiant. This is no antique. It is as brilliant as when first released.

I heard of Roberto Rossellini's first neo-realist (neo-realist before it was defined, however, meaning it borders on factual melodrama) effort, Roma Citta Aperta, or Open City, through the documentary My Voyage to Italy. From the way it was seen in that it had my expectations so high that when I finally saw it today I was only slightly disappointed. I realize that Rossellini works in a different realism than like Vittorio DeSica. The viewer sees right away that DeSica works much better in getting the tragedy of the emotional levels of these people, while Rossellini gets the tragedy of the situation(s) at hand. At it's purest and best, Open City tells a solid story about simple people in harrowing times.

At his core, Rossellini films Open City a lot like a documentary, with some shots here and there that you didn't see at the time - all of the locations were real from weeks after the war ended and created the appropriate atmosphere. And yet, despite the truth to the story (of a Priest being executed by the fascists), every now and then I found myself looking at Open City like it should have been better, that it hasn't held up against time like DeSica's films did. I was able to look past some of the faults, but not enough to make me think of this as a masterpiece like many critics and admirers say.

Still, the main theme that goes with Open City, the loyalty of the common people, is not lost on a modern viewer such as me- the priest Don Pietro Pelligrini (Aldo Fabrizi), along with some children who are also resistance fighters, try and help those who are trying to rid Rome and Italy of the German presence. There is also Francesco, who has a couple of aliases, and wants to marry Pina (Anna Magnani, in the most heart-felt performance of the film) since she's pregnant. The events in the second and third acts of the film are worth watching, though the first act slowly introducing several supporting players takes its time showing us these are real people who've lived through the war and are sick of waiting for the end of it.

I'm not too sure now if I can recommend Open City as THE definitive neo-realist film, because it was made before neo-realism had found its footing. It is an important film to see, I don't doubt that, and the last twenty minutes of the film contain some of the most memorable material in the neo-realism movement (these twenty minutes give Fabrizi time to prove his worth). Even as a regular war film I got what I wanted...Perhaps I need to see another one of Rossellini's works, like Paisan, The Miracle, or Germany Year Zero before, I know if his breakthrough was his best effort as a director and/or to the genre he helped create.

Author's note: one aspect that hindered my enjoyment of watching Open City was that, despite seeing it on DVD, the print of the film was sub-par, and the subtitles that accompanied it only contained about 75% of what was spoken. There was one line in particular towards the very end that I remembered from a clip shown in the documentary that was left out, which was a downer for such a powerful scene. Like the film or not, this needs Criterion collection treatment.

Open City is considered a classic for its early contributions to the neo-realistic style whose most famous proponents included Rossellini, De Sica and Visconti. Regardless of its historic importance in the development of cinema, Open City is a difficult film to watch. For one, the neo-realist style was not fully developed. It struck me as more non-professional and low-budget than realistic. Certainly it doesn't have the dramatic appeal of a Battle of Algiers or pack an emotional wallop like The Bicycle Thief. Unfortunately, not much happens. The narrative is very choppy and while I appreciate the tremendous difficulties Rossellini must have faced to complete the film, the end result is not very watchable. The German officer is very unrealistically portrayed as well. I haven't seen any other Rossellini film and doubt I will. The typical complaints I have with Open City, poor narrative flow, stilted acting, no emotional appeal and slow pace all register with many of his other films as well. There is a very small Martin Scorcese documentary as the only DVD extra which isn't much of an incentive to rent the movie.

It's in two parts and that's appropriate because it's really two films. Part one is an absolutely brilliant combination of location shooting, action and character exposition, all coming together in that riveting apartment complex sequence, with Nazis searching for resistance fighters as tension mounts and peoples' lives are shattered, and culminating in the death of the movie's most interesting character, Anna Magnani's large souled, earthy, pregnant bride to be. If part one is true to the ethos of the film's title then part two, set mostly in SS interrogation rooms, could be called "Nazi Headquarters, Closed To Outside World". And while it's not a bad film it's certainly one we've seen before with cartoonishly evil Germans, plus the obligatory One Thoughtful Self Hating German, all headed by the lesbo female seductress who looks like she wandered in off the set of "Cabaret"( and who bears an absurd resemblance to Sandra Bernhardt!). Suddenly we've left the neo realism of Rossellini and have anticipated by 50 years the mannered fantasy land of Tarantino. Don't know about you, but I was a bit dismayed. So for the first hour and Magnani as well as Rossellini's making us feel we've been taken back in time and space to the Eternal City in WW2, let's give this one a B plus.

OK, Let's get the most important thing out of the way right now. I understand that this film is a Neo-Realism piece, but seriously.......come on. Just because you make a film in a certain way doesn't give you an excuse to make it unwatchable. The shots were all seemingly shot with different cameras (none blended well at all), the subtitles only tell viewers about half of what is actually said (not like we care, as i've said......the movie sucked), and the two lead actors look too similar to differentiate later in the movie. Now you people can over analyze this garbage all you want. But you can't honestly tell me that it merits anything even close to resembling an ounce of respect from anyone who's ever seen a movie before. That's it, I'm done.