IMDb > Rome, Open City (1945)
Roma città aperta
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Rome, Open City (1945) More at IMDbPro »Roma città aperta (original title)

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Overview

User Rating:
8.1/10   13,525 votes »
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Director:
Writers:
Sergio Amidei (screenplay) and
Federico Fellini (collaboration on screenplay) ...
(more)
Contact:
View company contact information for Rome, Open City on IMDbPro.
Release Date:
27 September 1945 (Italy) See more »
Genre:
Plot:
The location: Nazi occupied Rome. As Rome is classified an open city, most Romans can wander the streets... See more » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 6 wins See more »
NewsDesk:
(59 articles)
Daily | Cinema Scope, Sallitt, Rossellini
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User Reviews:
Other interpretations See more (51 total) »

Cast

  (in credits order) (verified as complete)
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)
rest of cast listed alphabetically:
Caterina Di Furia ... Woman in street scene (uncredited)
Laura Clara Giudice ... Bit Part (uncredited)
Turi Pandolfini ... Grandfather (uncredited)
Amalia Pellegrini ... Nannina (uncredited)
Spartaco Ricci ... Geman motorcyclist (uncredited)
Doretta Sestan ... Bit Part (uncredited)
Alberto Tavazzi ... The Priest (uncredited)

Directed by
Roberto Rossellini 
 
Writing credits
Sergio Amidei  screenplay and
Federico Fellini  collaboration on screenplay &
Roberto Rossellini  collaboration on screenplay

Sergio Amidei  story and
Alberto Consiglio  additional material &
Roberto Rossellini  additional material

Produced by
Giuseppe Amato .... producer (uncredited)
Ferruccio De Martino .... producer (uncredited)
Rod E. Geiger .... producer (uncredited)
Roberto Rossellini .... producer (uncredited)
 
Original Music by
Renzo Rossellini 
 
Cinematography by
Ubaldo Arata 
 
Film Editing by
Eraldo Da Roma 
Jolanda Benvenuti (uncredited)
 
Production Design by
Rosario Megna 
 
Production Management
Ferruccio De Martino .... production manager
Mario Del Papa .... production manager
 
Second Unit Director or Assistant Director
Sergio Amidei .... assistant director
Federico Fellini .... assistant director (uncredited)
 
Sound Department
Raffaele Del Monte .... sound
 
Visual Effects by
Stefano Ballirano .... digital restoration supervisor (restored version)
Stefano Camberini .... digital restoration artist (restored version)
Pablo Mariano Picabea .... film recording (restored version)
Paolo Verrucci .... digital color grading restoration (restored version)
Stefanacci .... visual effects (uncredited)
 
Camera and Electrical Department
Vincenzo Seratrice .... camera operator
 
Music Department
Luigi Ricci .... orchestra conductor
 
Other crew
Vincenzo Genesi .... laboratory manager: Tecnostampa (as V. Genesi)
J. Tuzzi .... continuity
Ferruccio Amendola .... voice dubbing: Vito Annichiarico (uncredited)
Rosetta Calavetta .... voice dubbing: Carla Rovere (uncredited)
Gualtiero De Angelis .... voice dubbing: Francesco Grandjacquet (uncredited)
Pietro Di Donato .... subtitler: English (uncredited)
Lauro Gazzolo .... voice dubbing: Marcello Pagliero (uncredited)
Giulio Panicali .... voice dubbing: Harry Feist (uncredited)
Roswita Schmidt .... voice dubbing: Giovanna Galletti (uncredited)
Herman G. Weinberg .... subtitler: English (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Roma città aperta" - Italy (original title)
See more »
Runtime:
103 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Australia:M | Finland:K-16 | France:U | Germany:12 (cut) (DVD rating) | Portugal:M/12 | Spain:13 | Sweden:15 | UK:15 | UK:12 (re-rating) (2005) | USA:Approved | USA:Not Rated | West Germany:16 (re-rating) (cut) | West Germany:(Banned) (1950-1961)

Did You Know?

Trivia:
In the French-dubbed version a few characters were given Gallic names: Anna Magnani (Anne-Marie), Maria Michi (Monique Martin), Francesco Grandjacquet (François), Vito Annichiarico (Marcel), Carla Rovere (Laurette), Nando Bruno (Augustin).See more »
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
See more »
Movie Connections:
Referenced in Splendor (1989)See more »
Soundtrack:
Mallinata FiorentinaSee more »

FAQ

This FAQ is empty. Add the first question.
25 out of 36 people found the following review useful.
Other interpretations, 26 August 2002
Author: realreel from United States

Over time, Rossellini's legacy has been overshadowed by that of his contemporaries Fellini and de Sica. There are reasons for this. Fellini had a unique cinematographic eye and a gift for abstract symbolism. De Sica was able to capture the incidental and indeterminate in a way that practically elevated it to the level of the holy. His use of non-actors was far more effective than Rossellini's, as was Fellini's use of actors. Rossellini's scripts were often two-dimensional, his cinematography spotty and his editing odd. So why is it that he occupies a leading position among Italian auteurs?

In fact, Rossellini was not a neo-realist, but a realist. Compared with products of the neo-realists, his films are thin and wooden. If, on the other hand, one views them as works of tragedy, they are excellent. From the very start of Open City, it is clear that the seeds of disaster are sewn. A pregnant mother is to be married to a member of the resistance. Members of the clergy and children are also involved in fighting the Nazis. Italians are united against a common enemy: Fascism. Yet we know that, while victory is inevitable, so is death. Perhaps it is the darkness of the tight, seedy interiors that tips us off. Perhaps it is because we do not feel that sense of endlessness beyond the screen, but that we are being led through these building and streets along with the characters. Perhaps is is the German marching songs. Whatever it is, we feel the march of destiny leading us to some terrible conclusion. Fate can never play a role in neo-realist work; by Bazin's definition, it is constructed organically and arrives at its destination as if by chance. Tragedy can only be the purview of the realist.

Open City is not without its liabilities. For one, Arata's cinematography, while startling at times, is unsatisfactory at others. The script, written by Fellini and Amidei, is confusing and allows for minimal character development. [N.B.: The English subtitles add to this confusion, excising whole chunks of crucial dialogue.] Several of the performances are undynamic, such as those of Maria Michi and Carla Rovere; the villains, portrayed by Giovanna Gallett and Harry Feist, are very much "in type"; Aldo Fabrizi, who, as Don Pietro, is so central to the plot, is guilty of overacting. Above all, one doesn't get the sense that Rossellini's camera "falls in love" with its subjects the way that one might wish it did. Yet it is in this very impassiveness, this plastic script and detached camera, that the key to Open City lies. This is not a film about a painter and his son, nor does it lovingly portray an old pensioner and his dog. This film is about the horrors of war, not a subject for which Rossellini expects to find an empathetic audience. In the absence of footlights and the invisible "third wall", he uses the greatest tool at his disposal to create tragic theater: our own lack of nobility.

Open City is a portrait of human courage in the face of overwhelming odds. It confronts us with horrors which, God willing, we may never know. Don't watch it expecting to fall in love with the grittiness of World War II era Italy. Expect to be deeply moved.

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