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Stromboli (1950)

Stromboli, terra di Dio (original title)
Not Rated | | Drama | 15 February 1950 (USA)
Karin, a young woman from the Baltic countries, marries fisherman Antonio to escape from a prison camp. But she cannot get used to the tough life in Antonio's volcano-threatened village, Stromboli.

Director:

Roberto Rossellini

Writers:

Roberto Rossellini (story), Sergio Amidei (collaboration) (as Sergio Amedei) | 4 more credits »
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Cast

Complete credited cast:
Ingrid Bergman ... Karin
Mario Vitale ... Antonio
Renzo Cesana Renzo Cesana ... The Priest
Mario Sponzo Mario Sponzo ... The Man from the Lighthouse
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Storyline

Living in an Italian refugee camp in 1948, the beautiful Karin meets Antonio, a resident of the men's camp. Though not in love with him, Karin marries him and they soon head for his home village, Stromboli. The village is on a remote island at the foot of an active volcano. When they arrive Karin despairs of the barren land and the absence of people, as many have left, mostly for the United States. She doesn't speak the local dialect and is treated with disdain by locals who see her as an exotic foreigner and a loose woman. After Antonio beats her and locks her in their house, she sets off across the mountains to seek her freedom and a better future. Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

This is IT! See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Italy | USA

Language:

Italian | English | Spanish | German | French

Release Date:

15 February 1950 (USA) See more »

Also Known As:

Of God's Earth See more »

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Box Office

Budget:

$1,000,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (Italy)

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Director Roberto Rossellini worked with no written screenplay but a handful of personal notes. See more »

Goofs

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 »

Quotes

Old Man #1: Volcano is a very dangerous. Sometime blow up and a lot of stones go up and come down right in floor and make big hole and burn everything. Like in 1944.
Karin: Why did you leave America?
Old Man #1: I leave America. America's good for young fellows. I am old man and I come back to Stromboli.
Old Man #2: This fellow too old and stupid in the head. I don't want to die here. I want to go back over to my son in Brooklyn. And he saves money for my trip. I am going back in Brooklyn in about ten years.
Karin: How old are you?
Old Man #2: Seventy.
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 »

Alternate Versions

Several running times exist. The main difference between the 81 min. US version and the 105 min. Italian version was in the ending, with religious themes cut out. See more »

Connections

Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999) See more »

Frequently Asked Questions

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User Reviews

 
coping with the Big Empty
16 November 2013 | by cafescottSee all my reviews

I enjoyed reading "erupting beauty" (The Big Combo, 2 February 2004) for a good summary of Stromboli. Zetes ("A vastly underrated masterpiece", zetes from Saint Paul, MN, 15 June 2002) and bkoganbing ("Ingrid and the volcano", bkoganbing from Buffalo, New York, 29 August 2012) both include good background about the controversies surrounding it. Cogs ("Poor old Ingrid!!", cogs from London, England, 2 February 2005) sees similarities between Rossellini and Bresson that I share. I agree with Cogs that Bresson is more interesting.

Stromboli is a showcase for Ingrid Bergman, who to my mind is easily the greatest actress in cinema. Karen's situation is Hellish. She marries to escape an Italian interment camp. She subsequently finds only misery with the desolate volcano-island that her fisherman-husband takes her to. The terrain is harsh and the locals are even worse. She discovers him to be overly simple and occasionally too beastly to bear. The finale reflects her desire for just a meager amount of happiness in such a world as this.

Visually Roberto Rossellini is superb. His visual aesthetics are unsentimental but never boring. His camera work is unobtrusive.

Two of the most memorable scenes feature a disturbing quotient of animal cruelty. In the first scene, a live rabbit is needlessly sacrificed by being placed near a ferret. Rossellini couldn't use stuffed animals. He has the audience, some of whom are animal lovers, suffer by showing the kill in detail. Of course, Rossellini is strengthening the distance between Ingrid and her fisherman husband, and identifying her with the suffering rabbit. However, I won't give Rossellini any credit for moving the story along with this thoughtless tactic.

The second scene is the justifiably famous tuna slaughter with real fisherman, nets and spears. I have eaten tuna all my life and haven't thought much where it comes from. Also, I have no doubt that all of the tuna that we see being harvested was ultimately eaten. To give Rossellini credit, he filmed it well--with Ingrid nearby witnessing it as if she was one of the unfortunate fish. I just don't think that it takes great storytelling skill to rely on animal slaughter to move an audience.

Two other scenes that are noteworthy is when Karen attempts to seduce a priest, and when she (apparently) seduces a lighthouse keeper. The character that Rosselini and Bergman are portraying is flawed, and very human. She's no saint, she's a woman with unfulfilled needs.

Overall, Stromboli is a must-see member of the Italian neo-realism canon. Very few films venture to depict life without false pretenses. Ingrid's Karen really suffers; and her actions make her a polarizing figure to viewers, isolating her further. Rossellini and Bergman are showing what life is really like as every member of the audience understands it.


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