Rome, Open City (1945)
"Roma, città aperta" (original title)

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 ... See full summary »

Director:

Roberto Rossellini

Writers:

Sergio Amidei (screenplay), Federico Fellini (collaboration on screenplay),

Stars:

Aldo Fabrizi, Anna Magnani, Marcello Pagliero

Nominated for 1 Oscar. Another 6 wins.

Cast

Complete credited cast:
Aldo Fabrizi	...	Don Pietro Pellegrini
Anna Magnani	...	Pina
Marcello Pagliero	...	Giorgio Manfredi aka Luigi Ferraris
Vito Annichiarico	...	Piccolo Marcello
Nando Bruno	...	Agostino the Sexton
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)

Storyline

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. War worn widowed mother Pina is about to get married to her next door neighbor Francesco. Despite their situation - Pina being pregnant, and Francesco being an atheist - Pina and Francesco will be wed by Catholic priest Don Pietro Pelligrini. The day before the wedding, Francesco's friend, Giorgio Manfredi, who Pina has never met, comes looking for Francesco as he, working for the resistance, needs a place to hide out. For his latest mission, Giorgio also requests the assistance of Don Pietro, who is more than willing as he sees...

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Plot Keywords:

priest | nazi | german | widow | gestapo | 

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Genres:

Drama | War

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Certificate:

Approved

Details

Country:

Italy

Language:

Italian German

Release Date:

27 September 1945 (Italy)

Also Known As:

Rome, Open City

Filming Locations:

Via Casilina, Rome, Lazio, Italy

Company Credits

Production Co:

Excelsa Film

Technical Specs

Runtime:

100 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Roberto Rossellini and Sergio Amidei took their inspiration from two real-life people, Pina from Teresa Gullace, a Roman woman killed on a street on 3 March 1944, and Manfredi from Cesare Negarville, a partisan that Amidei had hidden at his home during the War.

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Quotes

Major Bergman: Then I'll tell you who he is. He's subversive, he's fought with the Reds in Spain. His life is dedicated to fighting society, religion. He is an atheist... your enemy...
Don Pietro: I am a Catholic priest. I believe that those who fight for justice and truth walk in the path of God and the paths of God are infinite

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Connections

Referenced in Il tassinaro (1983)

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Soundtracks

"Mallinata Fiorentina"
Composed by Giovanni D'Anzi
Lyrics by Galdieri
(1941)

User Reviews

A Turning Point In Film History

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