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

Director:

Roberto Rossellini

Writers:

Sergio Amidei and
Federico Fellini
(more)

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:

Priest | Nazi | German | Widow | Gestapo

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)
rest of cast listed alphabetically:
Turi Pandolfini	...	Granfather (uncredited)
Amalia Pellegrini	...	Nannina (uncredited)
Alberto Tavazzi	...	The Priest (uncredited)

Directed by
Roberto Rossellini

Writing credits
Sergio Amidei		(story) uncredited and
Alberto Consiglio		(story) uncredited
Sergio Amidei		and
Federico Fellini		and
Roberto Rossellini		uncredited

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

Production Design by
Rosario Megna

Production Management
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)

Camera and Electrical Department
Vincenzo Seratrice	....	camera operator

Other crew
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)
Herman G. Weinberg	....	subtitler: English (uncredited)

Production Companies

• Excelsa Film

Distributors

• Minerva Film (1945) (Italy) (theatrical)
• Arthur Mayer & Joseph Burstyn (1946) (USA) (theatrical) (subtitled)
• C. F. R. (1946) (France) (theatrical) (16 mm)
• Francinex (1946) (France) (theatrical)
• Columbia Broadcasting System (CBS) (1952) (USA) (TV) (dubbed and edited version)
• Arthaus Filmverleih (????) (Germany) (theatrical)
• Pagode Films, La (????) (France) (theatrical) (re-release)
• Altomedia. Co. Ltd. (????) (Korea) (DVD)
• Altomedia. Co. Ltd. (????) (Korea) (VHS)
• Connoisseur Video Collection (1991) (USA) (VHS) (subtitled)
• Criterion Collection, The (2010) (USA) (DVD)
• Criterion Collection, The (????) (USA) (video) (laserdisc)
• Films sans Frontières (2001) (France) (DVD)
• Image Entertainment (1997) (USA) (DVD)
• Kino Video (????) (USA) (VHS)
• Umbrella Entertainment (2004) (Australia) (DVD)

Also Known As:

"Roma, città aperta" - Italy (original title)

Runtime:

100 min

Country:

Italy

Language:

Italian | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Germany:12 (cut) (DVD rating) | West Germany:16 (re-rating) (cut) | West Germany:(Banned) (1950-1961) | Australia:M | Portugal:M/12 | Spain:13 | Finland:K-16 | Sweden:15 | UK:15 | USA:Approved

Filming Locations:

Rome, Lazio, Italy

Company:

Excelsa Film

Trivia:

Clara Calamai, the lead in Luchino Visconti's Ossessione (1943), was Roberto Rossellini's first choice for the part later taken by Anna Magnani.

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

Movie Connections:

Referenced in The Cutting Edge: The Magic of Movie Editing (2004)

Legendary Italian masterpiece with Italian screen legend

"It is easy to die with dignity,

it is much harder to live with dignity" (Padre Pietro)

Usually when I encounter commenting on WWII movies, I have mixed feelings. I am aware that it's hardly possible to fully evaluate their intensely diverse levels. The situation occurs even harder when commenting on such a legendary movie as ROMA CITTA APERTA. It seems that it is easier to end about it well but much harder to say about it so. Rossellini's movie is one of the true masterpieces dealing with WWII, a symbol of Italian Neorealism, a wonderful psychological insight into individual and social deeds. Moreover, it is the film made just in the core of those events, the Rome of the mid-1940s. All latest movies on WWII, though very well made, seem pale and only acted when comparing to this one. Let me discuss the movie in more details.

ROMA CITTA APERTA is a true INSIGHT into various CHARACTERS in their hard REALITIES that force them to particular deeds. They all cope with resistance from the German fascists who divided Rome into 14 zones and control it. The characters range from the simple Il Sagrestano, the engaged couple Francesco and Pina, young boys, devoted Padre Pietro, performer Marina to the most "wanted" man Giorgio Manfredi (a true character, the Communist Celeste Negavilla). They all cope with individual dramas combined with psychological tiredness: Pina plans to set up a family, yet fatal events of hatred do not allow for her happiness; one of the boys badly seeks a father, yet the army of death does not accept fathers or sons; some want careers as performers, yet the times force service to blind propaganda only; good Christians want to live with dignity and love, yet, the world can only offer humiliation and hatred in return. The satanic patience of the Nazis seems to win. And here arises a question: are they all forced to do things they'd never do?... That profound development of characters, though may seem too harsh for Germans, occurs to be especially thought provoking and psychological.

ROMA CITTA APERTA is filled with GENUINELY TOUCHING MOMENTS. Except for the final scene - the symbol of the movie when the sad boys walk to the city of Rome just after the execution=martyrdom of their earthly angelic tutor, Padre Pietro; I'll never forget Pina's death: supposedly so unnecessary as a loss of life but truly so significant as a cry for freedom and dignity. Anna Magnani does a terrific job in this scene, you as a viewer seem to shout with her in despair: "Francesco!" Another great moment is when Marcello, Pina's son, asks Francesco "Can I call you father?" This seems to symbolize that simple affection never dies and remains a genuine sign of hope in the world of madness and hatred. Besides, who can forget the moment when Francesco places hope in Pina that the future would bring life anew, dreams anew, happiness more stable. Throughout these moments, there is an intense atmosphere, something that keeps you on your chair speechless.

ROMA CITTA APERTA stands out as a movie with a very clever and profound SCRIPT. It thrilled me when Bergmann, with satanic irony, says to Padre Pietro "I DO NOT care about your rules!" and Padre answers calmly "But the One above you and me DOES" Hartmann's reflections on Nazis' deeds constitute an accurate psychology of doubt even among these "monsters". His character also atones a bit for the image of the Germans. But the final words about living and dying in dignity are the quintessential of the movie and leave a timeless message. But all the word "masterwork" sums up in another crucial aspect.

ROMA CITTA APERTA is one great harmony of flawless PERFORMANCES. Who comes to view as the superior cast is of course the unforgettable Anna Magnani. Her symbolic role of Pina representing the despair of the nation is one of the greatest masterpieces one can encounter in the history of cinema. I do not exaggerate: Anna does something above flawless acting: she IS Pina! Aldo Fabrizi gives a profound performance as Il Padre stressing right Christian attitude filled with love, justice, openness. Harry Feist does a terrific job as wretched Nazi officer Bergmann and Maria Michi as Marina of the Piburtina Street. This film deserves to bear a name "masterpiece" thanks to performances alone.

ROMA CITTA APERTA is undeniably one of the most precious pearls of human thought in cinema. It lifts up the mind and soul, beside all its content of war, death and cruelty, it still fills our minds with hope of the better world. Yet, eternal walk of humanity towards the gates of peace has not finished yet. However, as long as there are viewers who acquire the spirit of this movie, such walk does not occur in vain.

Oh Rome, the Eternal City, the Beloved City, the Historic Treasure of Humanity, Open Your Gates to Peace, Open the Gates of All Human Hearts!