Rome, ville ouverte

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

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

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.

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.