Open City

Other titles: Roma, Città Aperta –
Rome, ville ouverte
Genre: war drama
Director: Roberto Rossellini
Release: 1946
Studio: Excelsa - Mayer-Burstyn
Rating: -
MBiS score: 9.6/10


The Best in Italian Neo-realism


Though the tide of World War II had turned against Germany, Hitler’s men had not yet lost their foothold in Italy. There was chaos in the streets of Rome, people scurried to steal a loaf of bread but the well-fed Germans had more pressing matters in mind. Their goal was to silence anyone who opposed them, especially Giorgio Manfredi, a suspected member of the resistance.

Thus begins OPEN CITY, a black and white portrait of desperate people in desperate times, a movie so bleak and masterful that I must weigh my words carefully for fear of sullying its status as a cinematic chef-d’oeuvre. This is one of those rare films that transcend their medium, not unlike SCHINDLER’S LIST, and reach deep down into your soul. It will no doubt overwhelm you because, in every detail, it has been honed to perfection, bathed in dignity, sanctified by suffering.

The movie’s powerful script (penned by Sergio Amidei and Federico Fellini) details the heart-wrenching lives of Romans who struggled under occupation as victims or resistants, tormented by visions of love, freedom and honour that only hopelessness can conjure. They are all unforgettable in their listless humanity, settling for a life in hell, marrying more for solace than for happiness and making tough choices with conscience as their guide. Unsurprisingly, all actors involved are wonderful but I must single out Anna Magnani (Pina), Aldo Fabrizi (Don Pietro) and Marcello Pagliero (Manfredi). Of course, Roberto Rossellini’s direction is worthy of superlatives.

Because of its chilling realism and anguished beauty, I strongly recommend OPEN CITY. This is a war movie about ordinary people, not about cannons and strategy. No legitimate movie fan should miss this magnificent drama.


MBiS

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