Roma, città aperta

Italian neo-realism

Roberto Rossalini's film is set is 1944, during the Nazi occupation of Rome. It tells the story of the Resistance leader Giorgio Manfredi, who is tracked down by the police and has to run. He has numerous identities and is considered a serious enemy of Gestapo. Manfredi finds refuge in his good friend's flat, Francesco, just a day before Francesco's wedding. His fiancée Pina is a "real person", as Manfredi describes her. She hurries up to seek help from the priest Don Pietro Pallegrini for new documents for Manfredi, so he will be able to leave Rome. Essentially, all these characters are trying to survive in the extraordinary circumstances they're put in. They brake the low in one way or another, like Pina breaking in the bakery with many other people, but it is understandable that in this war, no institution can work properly. In the same scene,the priest is seduces and takes some bread too, the only reason why the police officer restrains is because he's on duty.

In the mean time, Gestapo is not wasting time. They contact Manfredi's ex girlfiend Marina who is still in touch with him and try to seduce her with drugs. She is already addicted, but feels reluctant to betray him. In this character, the director portrays some of the low methods the Germans have used in order to get to someone valuable.

Pina is played by Anna Magnani and encompasses the strong spirit of the resistance. In all her gestures and lines it is evident how real and down to earth this character is. She is also religious and relies on her faith to keep her through the war. Rossalini has used a comedian actress for this part, due to lack of any others available. Doubtlessly it couldn't be a happier accident. Therefore when Pina is shot a bit after the middle of the film, the audience is shocked by the decision to kill the actress they've already fallen in love with. Certainly that was the case for me.

Furthermore, the director also plays with a very interesting subplot around the children. Pina's son is in a secret children resistance group. They throw small bombs at night and feel very proud of their actions, despite the fear of punishment by their parents. Throughout the film a lot of the elder characters complain how sick and tired they are of the war, and how much they hate the fascists. Their views are indirectly infiltrated by the children, who on their side create even more realistic situations. The children also want to make a difference. As a result, the viewer is in sympathy with the resistance and that is strengthened and deepened by the small characters. I find Rome Open City as an amazing film, that succeeds to present the situations and reactions authentically, with great realism that can only add to the overall story. It is this films that starts the Italian neo-realism.

Close to the end, I just want to mention how surprised I was to find Federico Fellini in the script and idea credits! They were in the beginning of the film, so I was prepared for something completely different. Taking in mind the lack of structure and story in Felini's films, throughout Rome Open City which is incredibly shaped, I was wondering how he managed to preserve it in the neat form we see it today. Then I found the answer that it's Rosellini's story, and Fellini as a good friend was there to help. In those days the great directors must have all known each other.

Finally, my favorite part in the film except the one with the rebellious children is when Pina and Francesco are sat at the staircase in front of the flat. They recollect the moment they first met as neighbours and it sounds something like:

Francesco: "You stormed my flat as if you wanted to kill me"

Pina: "You were hammering a nail in the wall and knocked down my mirror. You didn't breake it though"