IMDb > Paisan (1946)
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Paisan (1946) More at IMDbPro »Paisà (original title)

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Down 30% in popularity this week. See why on IMDbPro.
Sergio Amidei (story) &
Klaus Mann (story) ...
View company contact information for Paisan on IMDbPro.
Release Date:
29 March 1948 (USA) See more »
Six vignettes follow the Allied invasion from July 1943 to winter 1944, from Sicily north to Venice... See more » | Add synopsis »
Plot Keywords:
Nominated for Oscar. Another 10 wins & 1 nomination See more »
User Reviews:
Neorealism at its best See more (32 total) »


  (in credits order) (complete, awaiting verification)

Carmela Sazio ... Carmela (episode I: Sicilia)
Robert Van Loon ... Joe, the American soldier (episode I: Sicilia)
Benjamin Emanuel ... An American soldier (episode I: Sicilia)
Raymond Campbell ... An American soldier (episode I: Sicilia)
Harold Wagner ... Harry, a German soldier (episode I: Sicilia)
Albert Heinze ... A German soldier (episode I: Sicilia)
Merlin Berth ... Merlin, an American soldier (episode I: Sicilia)
Mats Carlson ... Swede, an American soldier (episode I: Sicilia)
Leonard Parrish ... An American soldier (episode I: Sicilia) (as Leonard Penish)
Dots Johnson ... Joe - the American MP (episode II: Napoli) (as Dots M. Johnson)
Alfonsino Pasca ... Pasquale (episode II: Napoli) (as Alfonsino)
Maria Michi ... Francesca (episode III: Roma)
Gar Moore ... Fred, an American soldier (episode III: Roma)
Harriet Medin ... Harriet, the nurse (episode IV: Firenze) (as Harriet White)
Renzo Avanzo ... Massimo (episode IV: Firenze)
William Tubbs ... Captain Bill Martin - the catholic chaplain (episode V: Appennino Emiliano) (as Bill Tubbs)
Dale Edmonds ... Dale - the OSS agent (episode VI: Porto Tolle)
John Whaling Allen ... An American soldier (episode VI: Porto Tolle) (as Allan)
Dan ... An American soldier (episode VI: Porto Tolle)
Roberto Van Loel ... A German soldier (episode VI: Porto Tolle) (as Van Loel)
Cigolani ... A partisan (episode VI: Porto Tolle)
rest of cast listed alphabetically:
Giulio Panicali ... Narrator (voice)
Iride Belli ... A soldier (uncredited)
Lorena Berg ... Amalia (episode III: Roma) (uncredited)
Pippo Bonazzi ... A soldier (episode II: Napoli) (uncredited)
Gianfranco Corsini ... A partisan (episode IV: Firenze) (uncredited)
Fattori ... A soldier (uncredited)
Elmer Feldman ... Captain Feldman, the jewish chaplain (episode V: Appennino Emiliano) (uncredited)
Gigi Gori ... The dying partisan (episode IV: Firenze) (uncredited)
Newell Jones ... Captain Jones, the protestant chaplain (episode V: Appennino Emiliano) (uncredited)
Anthony La Penna ... Tony (uncredited)

Giulietta Masina ... The young woman on the palace stairs (episode IV: Firenze) (uncredited)
Carlo Pisacane ... The old man from Gela (episode I: Sicilia) (uncredited)

Directed by
Roberto Rossellini 
Writing credits
Sergio Amidei (story) (as S. Amidei) &
Klaus Mann (story) (as Klauss Mann) &
Federico Fellini (story) (as F. Fellini) &
Marcello Pagliero (story) (as M. Pagliero) &
Alfred Hayes (story) (as V. Hayes)

Sergio Amidei  screenplay and dialogue &
Federico Fellini  screenplay and dialogue &
Roberto Rossellini  screenplay and dialogue and
Rod E. Geiger  screenplay collaboration (as Rod Geiger)

Vasco Pratolini  story (uncredited)

Produced by
Rod E. Geiger .... producer
Roberto Rossellini .... producer
Mario Conti .... producer (uncredited)
Original Music by
Renzo Rossellini 
Cinematography by
Otello Martelli 
Film Editing by
Eraldo Da Roma 
Production Management
Augusto Dolfi .... production supervisor (as A. Dolfi)
Ugo Lombardi .... production manager
Alberto Manni .... production supervisor (as A. Manni)
Second Unit Director or Assistant Director
Eugenia Handamir .... assistant director (as E. Hadamir)
Annalena Limentani .... assistant director (as A. Limentani)
Federico Fellini .... assistant director (uncredited)
Massimo Mida .... assistant director (uncredited)
Sound Department
Ovidio Del Grande .... sound
Valerio Secondini .... audio restorer
Other crew
Annalena Limentani .... english dialogues
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Paisà" - Italy (original title)
See more »
USA:120 min | 134 min (restored version) | Italy:125 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Argentina:13 | Canada:PG (Ontario) | Italy:T | Portugal:M/12 (Qualidade) | Sweden:15 | USA:Not Rated | USA:Approved (PCA #4698)
Filming Locations:

Did You Know?

The film project started in 1945 as a collection of seven stories of American soldiers after their landing on Sicily, and their relationships with Italian people. In December 1945, it was announced on the newspapers as "Sette Americani".See more »
Revealing mistakes: During night a GI lights up his lighter while following the rocky path through the lava canal. A flashlight might have been used in order to help increase the effect of the lighter being lit. When the soldier closes the lighter, the spot projected by the flashlight remains on for a fraction of a second, which is enough to observe the synchronization issue.See more »
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8 out of 11 people found the following review useful.
Neorealism at its best, 8 July 2003
Author: diogoal-2 ( from Niterói, Brazil

Just when you thought that the cinema form had lost its capacity to carry an important social message without the use of artsy-fartsy rethoric, there comes "Paisà"; a masterpiece for the ages. Rosselini is a name that must be spoken of in all schools and universities of the world. His ability (combined to a perfect script) to convey emotional meaning in film with the use of non-professional actors, natural locations, and still be able to make it VIBRANT and EXCITING... it´s uncanny. The power of the stories told in "Paisà", although very distant in time and geography (for me, anyways) compells any intelligent human being to stand up against every kind of dictatorship and violence. On top of all that, Rosselini doesn´t use cheap tricks to win the public´s heart through melodramatics. His films are very down-to-earth and often take a distance from their main characters, which helps our rational analysis of the situation without being blinded by passion. Like Brecht used to do, i think.

All six stories are my favorites, but I particularly like the monastery segment. It portrays religious prejudice by christian monks towards two priests, one jewish and another a lutheran, right in the middle of the war. To the absurdity of all, the monks come to the priests´ companion, a Christian, to make them realize "the true path". One more time, Rosselini doesn´t end the segment with lessons of moral; its ending is very ambiguous and ironic. "Paisà" is a gem; i like it better than "Roma, Città Aperta", also a masterpiece of neorealism.

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See more (32 total) »

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