Stromboli (1950)

Not Rated  |   |  Drama  |  15 February 1950 (USA)
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Ratings: 7.3/10 from 3,591 users  
Reviews: 28 user | 41 critic

Karen, a young woman from the Baltic countries, marries fisherman Antonio to escape from a prisoners camp. But the life in Antonio's village, Stromboli, threatened by the volcano, is a tough one and Karen cannot get used to it.



(story), (collaboration) (as Sergio Amedei) , 5 more credits »
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2 wins & 1 nomination. See more awards »
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Complete credited cast:
Mario Vitale ...
Renzo Cesana ...
The Priest
Mario Sponzo ...
The Man from the Lighthouse


Karen, a young woman from the baltic countries, marries fisherman Antonio to escape from a prisoners camp. But the life in Antonio's village, Stromboli, threatened by the vulcano, is a tough one and Karen can not get used to it. Written by Yepok

Plot Summary | Add Synopsis


Raging Island...Raging Passions !




Not Rated | See all certifications »





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Release Date:

15 February 1950 (USA)  »

Also Known As:

Dopo l'uragano  »

Box Office


$1,000,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?


A change in production company occurred when Ingrid Bergman replaced Anna Magnani as leading actress. The original company reacted by using the same plot for another movie, Volcano (1950), shot at the same time and in nearly the same places as Rossellini's movie. See more »


Though used by women, pants were not so popular on that time. Is strange that a poor refugee like the character played by Bergman wears pants almost the entire movie. See more »


Karin: I don't care about your barley. Or, your vines! Or, your new terra! I want to leave this island and go away, far away! Like all the others who lived here and were born here and went away, far away!
Antonio: ...Listen, this is my home! You are my wife! You stay because I want to!
See more »

Crazy Credits

Opening credits: "I was found of them that sought me not; I was made manifest unto them that asked not after me." (New Testament, St. Paul's letter to the Romans, Chapter 10, Verse 20) See more »


Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1998) See more »

Frequently Asked Questions

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User Reviews

"La terra e dura qui": Setting as Character
4 April 2006 | by (Turkey) – See all my reviews

"La terra e dura qui." Ingrid Bergman is a powerhouse in this film (perhaps out of love and devotion to the director), but she still can't match the power of the menacing volcano on this remote island off the coast of Italy. Bergman plays a prisoner of war with a checkered past stuck in a women's camp, who marries a Strombolian in order to provide herself with the security she needs. Trouble awaits her, and the first sign we get of that is when she starts to complain of being cold on the boat that is taking her to her new life. What she finds is not up to her high Continental standards, and her attitudes towards the locals and the place itself diminish her already low stature as an outsider. It is less the people however, than the general character of the place that turns her off. The volcano, unnamed by the villagers, always awaits in the background, and setting itself becomes one of the main characters (thus the importance of the title), a force to be reckoned with, much like her character.

Although this film is not noir in any way, and Rossellini himself would probably turn in his grave for hearing me say this, Bergman's character certainly does not hesitate in using her female "wiles" to get what she wants and needs. She survived a world war on what we take are wits and flexible morals, so she will also make it through this and I love her for it.

She even attempts to seduce the local priest by cooing "I knew you were the only person who could help me." Having that attempt fail, she tries with the village lighthouse keeper seen at right, and I don't even have to explain the power of her touch. As she asks for help to escape from the village, she softly touches his foot with hers, and creates an unbelievably palpable feeling of erotic energy, something unheard of in mainstream movies today. I know, that's such a cliché, but it's true.

Anyway, I won't discuss the ending, which angered me as a modern woman (even Bergman didn't seem to be buying it), but I will say that the film impressed me with its use of setting comprising plot, character, mise-en-scene, and theme. The film IS setting. It's also worth it just to see the non-actors performing a yearly tuna fishing ritual that dates back to the Phoenecians. Rossellini films are never just stories, they are historical documents. And I love him for that.

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