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Rome Open City

Roma, città aperta

Italy

1945

100 Min
Black and White
German, Italian
  • Currently 4.2/5 Stars.
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DIR Roberto Rossellini

SCR Sergio Amidei

DP Ubaldo Arata

CAST Aldo Fabrizi, Anna Magnani, Marcello Pagliero, Vito Annicchiarico, Nando Bruno, Harry Feist, Giovanna Galletti

ED Eraldo Da Roma

MUSIC Renzo Rossellini

Synopsis

This was Roberto Rossellini’s revelation, a harrowing drama about the Nazi occupation of Rome and the brave few who struggled against it. Though told with a bit more melodramatic flair than the other films that would form this trilogy and starring well-known actors—Aldo Fabrizi as a priest helping the partisan cause and Anna Magnani in her breakthrough role as the fiancée of a resistance member—Rome Open City (Roma città aperta) is a shockingly authentic experience, conceived and directed amid the ruin of World War II, with immediacy in every frame. Marking a watershed moment in Italian cinema, this galvanic work was an international sensation, garnering awards around the globe and leaving the beginnings of a new film movement in its wake. —The Criterion Collection

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theladyassassin

31Jan10

I was fortunate enough to see this at the Pacific Film Archive the other day. The print was grainy and the subtitles were scarce but the story, language barrier aside, was so powerful that one couldn't possibly confuse what Rossellini wanted to say  
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brent

30Mar09

This is possibly the most terrifying film in the world. It really makes you realize the reality of an invasion. Troops coming to your city, how can you go about that? The most freighting part of the whole picture is that it was all really happening.  

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Roberto Rossellini's War Trilogy

By David Hudson on January 26, 2010
"In the immediate aftermath of World War II, Roberto Rossellini made three films that helped to lay the foundations of modern cinema: Rome Open City (1945), Paisan (1946) and Germany Year Zero (1948
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Farber in the Forties

By Geoffrey O'Brien on November 23, 2009
I was going to begin by saying that it would be hard to find two consecutive sentences in the film writings of Manny Farber that do not immediately signal his unmistakable presence. But on trying the
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By J. Ridicul​ous on June 8, 2009

An early classic of neorealism, the film is also a dichotomy. It follows some of the tenets of neorealism (use of mostly non-professional actors, wide use of location filming, etc.), but rejects the…  read review

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