Truly Dreadful Film

Purely Joyful Movie!

An action-packed slog

Amazing worth wacthing. So good. Biased but well made with many good points.

It holds an odd but very understandable significance that one of the most impacting post-World War II movies ever was from Italy. I say "odd" because Italy is perhaps the only country that started as an ally to Germany before being invaded by her very ally (not to mention the real ones) in 1943 after the fall of Mussolini. It was the failure of the fascist dream that left Italy an open country for the German invasion, with the capital Rome, as an open city.Italians saw their country literally collapsing, their fleet annihilated, the North African campaign cut short by the Allies, Italy relegated to the ungrateful small-time role in the scale of World War II, a casting error that cost so much time and efforts for Germans, notably in Greece, that its downfall caused the anger of Hitler and made it a priority to control Italy and restore the fascist regime of Mussolini (from that point, a German puppet). Despite all the resistant movements, Italy's loss wasn't just economical, but also symbolical, and what strikes in Roberto Rosselini's film is how lucid Italian people are, it's silent anger that fuel their force with vital energy. That anger wouldn't be as silent one when they'll get a hand on the ex-Duce, and I guess his fate showed how much resentment they had to vent.Nonetheless, people's anger has never be so dignified in a film without it being unrealistic, you really feel it in the general mood, even in people's way to express resignation. And the reason why this is so perceptible in the film is because Rosselini shot it shortly after the end of the war, among real ruins, and the screenplay was written while the German presence was still a fact. It's a film shot with an urge to be made and brought up at time as if Rosselini and all the actors knew they were participating to an important project, one that would show to the face of the world, that Italian were as much victims as any other countries and were not allies of the Nazi, the real Italian heart beat in the Roman streets not in a parliament.Ultimately, the film didn't end up being a powerful tribute to the sense of sacrifice and the fortitude of Italian people, it's also a magnificent and powerful tribute to all the people, in all the countries in the world that resisted the German invasion or any other invasion. The film holds a similar significance than other contemporary movies' scenes like Chaplin's final speech in "The Great Dictator" or the Marseillaise in "Casablanca". Except that it was made in more restrictive conditions. So, don't take its uneven quality, the different level of brightness and lighting as some effects to provide documentary-like realism or some artistic license. The film was made in secrecy and urgency as if it was part of a resistance movement itself.But Cinema is a world of imagery, and the film had one to offer, one that forever captures the tragedy of war and the wounds it inflicted to people. The image of Anna Magnani running, arms raised, to the truck, that is taking her soon-to-be husband, only to be shot dead by the Nazis, under the eyes of her son. It was Scorsese's "Voyage to Italy" that prepared me to this scene, one of those that impacted him the most, and for some reason, I thought it was the end of the film, as the one emotional highlight the film could have. The death of a pregnant woman, a strong mother, a future wife, whose beliefs was shaken by war's reality, was a powerful allegory of a country carrying bright hopes only to see its dreams annihilated by a barbaric force. Anna Magnani didn't play an Italian, she was Italy.And the supporting cast is a microcosm of the best and the 'worst' that war can bring, an actively resistant priest played by Aldo Fabrini and a communist (Marcello Pagliero), there is also an interestingly flawed character in Marina (Maria Michi), a cabaret dancer who prostituted herself by selling information to a female informant agent and lover, to afford some fancy lifestyle, convincing herself that she never really hurt anyone. In a way, she embodies the attitude of Mussoloni when he sold Italians' soul to the German, in the firm belief that it was the right horse to bet… until Hitler, wrapped up in his megalomania decided to invade USSR. And the way, Marina Is finally treated at the end, echoed the way Italy was left and the disgraceful punishment that awaited the Duce and his followers. "Rome, Open City" is about people who incarnate the Italian spirit, oscillating between two poles, the true Italian like Anna Magnani and the wounded and weakened Italy (closer to Marina) People are torn between their patriotism, their belief in humanity and in barbarity, but all in all, only humanity can triumph, and it even inspires a Nazi officer to confront Captain Hartmann, the sadistic antagonist of the film played by Dutch actor Joop van Hulzen. He wonders why Germans dare to call themselves the Master Race, which race of lords can torture people to death, execute priests or mothers. Despite Van Hulzen's slightly over-the-top performance, you could feel that Rosselini didn't want to portray the Germans as a one-dimensional evil group either, and that foresees his future "Germany Year Zero" where he'd shine a light on the other forgotten victims of World War II: the German people. But while this film relied too much on amateur actors, "Rome Open City" is a cinematic triumph because only performances from true actors could communicate the right emotions and would have the right impact on the world.Rosselini's casting choices proved him right, and "Rome, Open City" is a masterful melodrama, a historical document and a great tribute to anonymous heroes who wrote the most glorious lines of Italian history.

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.

***Howard Schumann ("Powerful Portrayal of Dignity and Courage", Howard Schumann from Vancouver, B.C., 24 April 2002) has essential background on the filming and good criticism. Also, Claudio Carvalho ("Masterpiece of the Italian Neo-Realism", Claudio Carvalho from Rio de Janeiro, Brazil, 2 April 2006) adds insight on how it was made. And, B24 ("Nice Piece of Work for its Time", B24 from Arizona, 10 May 2006) has good insight on the German speakers. Finally, federovsky ("Great film, however you classify it", federovsky from bangkok, 30 April 2008) has an excellent review.***"Rome, Open City (1945, Roberto Rossellini)", a return to Nazi- occupied Italy, is potent. While not the first example of Italian Neorealism, it is usually described as the one that inspired the rest. "Open City" has some flaws, but it is so brutal and stark that you likely will leave the theater stunned. Rossellini deserves credit for completing it. It was filmed on a shoestring budget as the Nazis began to leave Rome, ending their military occupation. (Rossellini used scraps of film left behind by the retreating German forces.) A mixture of experienced and novice actors are used. It is perhaps not a trivial detail to mention that one of the contributors to the writing, and the uncredited Second Unit director was a young Federico Fellini.The story revolves around the pursuit of a resistance hero (portrayed by Marcello Pagliero) by the Fascists. The Nazis are very ruthless here. Eventually, there are several torture scenes which don't show much of the painful details, but imply what is being done to the victim. The torture scenes and the inclusion of Italian collaborators with the occupying Germans is cutting edge for 1945.Rossellini also indulges in one of his favorite things to do: Killing animals for the entertainment of the cinematic audience. Having seen him also do this in "Stromboli" (1950), this is my biggest peeve with him. While the audience does not see either of the two sheep actually being shot, there is no doubt they both were while the camera was operating and the crew watched. Sure I am angry about this, but this is only a small part of "Open City". This film remains essential viewing. I just wish someone had challenged Rossellini by informing him that any idiot can point a camera in this direction to wake the audience up. An elite filmmaker would not need to resort to this. Overall, the acting is outstanding. Fabrizi as the priest, Magnani as the young widow, Pagliero as resistance hero and Francesco Grandjacquet as the kind Francesco are all probably legends to Italians. However, the woman portraying the lesbian spy doesn't really work for me; she is too one-dimensional in her speech. It has been mentioned by other reviewers that "Open City's" chief flaw when viewing it today is seeing very homosexual, decadent Nazis relaxing in a lavish chamber. The lesbian subplot is noticeably over-the-top. Western culture has evolved much with regards to LGBT preferences, and "Open City" is not strong here.While it is easy to find flaws when viewing this from a twenty-first century prism, we should recall that Rossellini has always held a commanding perch in Italian cinema. One of his more famous admirers is my choice for cinema's greatest actress, Ingrid Bergman. (During "Stromboli", Bergman broke up her especially rich collaboration with Alfred Hitchcock to become Rossellini's lover and leading actress.) Rosselini deserves respect as a pioneer of neo-realism. His techniques effectively depict the misery of life. Because "Open City" is as unsparing as the real occupation, and resistance fighters are immortalized while traitors are revealed, it likely inspired great pride with the Italian public emerging from its collective nightmare.While Rossellini is often described as filming "Open City," like a documentary, the opposite is true. For example, the Germans will shoot a much beloved woman running after the truck driven by the Gestapo as they arrest her Italian fiancé. The perspective is from the retreating car; the view of the fiancé. Rossellini is identifying point of view, which is supposedly a no-no in documentaries. Rossellini will also arrange objects in his interiors to move the story along. (How about the wild looking chair that the tipsy Nazi is sitting in when his lone voice speaks against the barbarity of his class?) The director once said, "I try to capture reality, nothing else (Rossellini)". However, he certainly is manipulating reality to achieve his results.The use of foreshadowing is particularly memorable. For example, an early scene with Don Pietro Pellegrini (Aldo Fabrizi), the heroic priest, shows him being hit in the head by a falling soccer ball as young schoolboys around him laugh. There is Pina's introduction (Anna Magnani) when she emerges from a bread riot almost too dizzy to stand. The two sheep will predict two subsequent fatalities, etc. With some quibbles, the narrative is written well.Despite its weaknesses, "Open City," is a must-see for cinephiles. The courage to resist Fascism in defiance of its sheer brutality inspires democracy activists today. Let's not forget that the current US government sponsors torture. Also, the US President has renewed a law which he claims grants him the right to execute or indefinitely detain US citizens. "Rome, Open City," is very relevant in this 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