bladefd

8/10

“Rome, Open City” is an Italian neorealism film by one of the co-creators of the neo-realism, Roberto Rossellini. Neo-realism is a filming style that portrays the world as it is, usually shot on location with non-professional actors. The fact that this film was produced during World War II, with Italy’s economy in collapse, makes it even more astounding. So, what’s it about? In 1944, the Nazis in Rome are hunting Giorgio Manfredi, a fictional Italian resistance leader. Amid curfews and food shortages, the resistance fights the Nazis from the shadows with help from the Italian citizens. The Nazis decide to cut off the head of the snake by targeting Manfredi. He seeks refuge at his friend Francesco’s house, as Francesco is preparing to marry. Francesco’s fiancee, Pina, and their priest, Don Pietro Pellegrini, attempt to help Manfredi escape Rome. However, there is a Nazi collaborator in their midst, complicating matters. The clock is ticking, and the Nazis closing in. Will Manfredi escape or will they get caught? Overall, I thought it was an interesting, enjoyable film. Even though it was one of the first neo-realistic films, the depiction felt realistic with documentary-style filming. Rossellini, an influential filmmaker, inspired later directors, who improved and took the neo-realism filming style to new heights. The atmosphere felt natural, with non-professional actors, authentic sets in Rome, and attention to details like clothing and lighting. However, I noticed some negatives. A few scenes, especially early in the film, felt like they dragged a bit, and the character development could have been better. Non-professional actors make the film feel natural, but the untrained acting may leave you wanting more. It wasn’t poor acting at all, though, but shallow backstories on the characters. It made it difficult to feel the characters. Since the focus is on the natural aspects of the story and tragedy, Rossellini can get away with the characters as they are. A few interesting tidbits. Rossellini used a few actual German POWs to add to the realism. Nazis had left Rome just two months before Rossellini began filming this. Other studios refused to pick up this film because it felt too much like a documentary. Would I recommend this? It’s a decent film, but I don’t think it’s a must-watch. If you enjoy learning about film history, I think this is worth watching.

CinemaSerf

0/10

The fact that this was filmed in Rome at a time when you could probably still smell the fleeing Nazi's petrol fumes gives this an enthralling sense of authenticity. The story is centred around the character of "Manfredi" (Marcello Pagliero) who is being chased by the Gestapo, and so is trying to escape. Even though Rome has been declared "open" and is therefore not subject to bombardment, the citizens are still very much under the control of their occupiers and getting "Mandredi" to safety is no easy feat. He seeks shelter with his friend "Francesco" (Francesco Grandjacquet) but meets his fiancée "Pina" (Anna Magnani) instead. She wants to help him out and so they send for the priest "Don Pietro" (Aldo Fabrizi) who sees the safety of these resistance fighters as a core part of his responsibility to God. Even he, clad in his robes, is not immune though from the pursuing authorities and as they close in things become increasingly more perilous for all concerned. This is one of the most poignant wartime stories I have ever seen. It conveys the sense of brutality being faced by the community, but it also allows room for a spirit of optimism and hope to emerge too. The children continue to play and though their food is rationed, their day to day lives are not touched by the mayhem of many occupants of ruined cities elsewhere. The casting of the soldiers is masterly, as is that of the collaborative police commissioner and the whole ensemble, coupled with the characterful writing and the delicately framed photography really does give us a plausible insight into just how - even as the war was coming to a close - dangerous their lives were. It doesn't spare us some ghastliness at the conclusion either - but that's somehow an ultimate validation of an humanity that is plentiful throughout.