Roma, città aperta (1945)

User Rating:

8.2/10   

Director:

Roberto Rossellini

Writers:

Sergio Amidei (writer) and
Federico Fellini (writer)

Release Date:

27 September 1945 (Italy)

Genre:

Drama | War

Plot:

Rome, 1944. Giorgio Manfredi, one of the leaders of the Resistance, is tracked down by the Nazis. He goes to his friend Francesco's...

Plot Keywords:

Nazi | Priest | Friend | Resistance | Occupation

Awards:

Nominated for Oscar. Another 6 wins

Cast

Aldo Fabrizi	...	Don Pietro Pellegrini
Anna Magnani	...	Pina
Marcello Pagliero	...	Giorgio Manfredi aka Luigi Ferraris
Vito Annichiarico	...	Piccolo Marcello
Nando Bruno	...	Agostino
Harry Feist	...	Major Bergmann
Giovanna Galletti	...	Ingrid
Francesco Grandjacquet	...	Francesco
Eduardo Passarelli	...	Neighborhood Police Sergeant (as Passarelli)
Maria Michi	...	Marina Mari
Carla Rovere	...	Lauretta
Carlo Sindici	...	Police Commissioner
Joop van Hulzen	...	Captain Hartmann (as Van Hulzen)
Ákos Tolnay	...	Austrian Deserter (as A. Tolnay)

Also Known As:

Open City (USA)
Rome, Open City

Runtime:

100 min

Country:

Italy

Language:

Italian | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Germany:12 (cut) (DVD rating) | West Germany:16 (re-rating) (cut) | West Germany:(Banned) (1950-1961) | Australia:M | Finland:K-16 | Sweden:15 | UK:15 | USA:Approved

Filming Locations:

Rome, Lazio, Italy

Company:

Excelsa Film

Trivia:

Rossellini used real Nazi POW's as extras for added realistic effect.

Quotes:

Major Bergman: I've a man who must talk before dawn and a priest who is praying for him. He'll talk
Hartman: And if not?
Major Bergman: Ridiculous.
Hartman: And if not?
Major Bergman: Then it would mean an Italian is worth as much as a German. It would mean there is no difference in the blood of a slave race and a master race. And no reason for this war.

Movie Connections:

Referenced in Lekcja polskiego kina (2002)

Rossellini's Timeless Neo-Realist Classic

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.