#Marcello Pagliero

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Rome, Open City (Roma città aperta) (1945) Roberto Rossellini

June 22nd 2024

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Roberto Rossellini’s “Roma città aperta” (Rome, Open City) September 27, 1945.

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Rome, Open City (1945) Ending Explained & Spoilers: What Happens at the End?

Itself Roberto Rossellini It is impossible to approach the fourth feature film of the post-war period from a purely cinematic perspective. There are certainly many new shots, expressionistic lighting and narrative elements for the time, which can also be attributed to the film noir of the time. ROME, OPEN CITY but above all it is history itself. The film is set directly after the Allies’…

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9 dicembre … ricordiamo …

9 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Ruth Madoc, Margaret Ruth Llewellyn Baker, attrice britannica. Ottenne il successo negli anni ottanta, interpretando la protagonista Gladys Pugh nella serie televisiva Hi-de-Hi!. Molto attiva anche in campo teatrale. Fu sposata con Philip Madoc dal 1961 al divorzio nel 1981 e la coppia ebbe due figli; successivamente si risposò con John Jackson nel 1982 e la coppia rimase insieme fino alla…

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Dots Johnson and Alfonsino Pasca in Paisan (Roberto Rossellini, 1946)

Cast: Carmela Sazio, Robert Van Loon, Harold Wagner, Merlin Berth, Mats Carlson, Dots Johnson, Alfonsino Pasca, Maria Michi, Gar Moore, Harriet Medin, Renzo Avanzo, William Tubbs, Dale Edmonds. Screenplay: Sergio Amidei, Klaus Mann, Federico Fellini, Marcello Pagliero, Alfred Hayes, Roberto Rossellini, Rod E. Geiger. Cinematography: Otello Martelli. Film editing: Eraldo Da Roma. Music: Renzo Rossellini.

The phrase "fog of war" was coined by Carl von Clausewitz in reference to the cloud of uncertainty that surrounds combatants on the battlefield, but it seems appropriate to apply it to the miscommunication experienced by the soldiers and civilians in Roberto Rossellini's great docudrama about the Allied campaign to liberate Italy in 1943 and 1944. The six episodes in Rossellini's film illustrate various kinds of problems brought about by language, ignorance, naïveté, and lack of necessary information. A young Sicilian woman (Carmela Sazio) struggles to communicate with the G.I. (Robert Van Loon) left guarding her; a Black American soldier (Dots Johnson) tries to recover the shoes that were stolen from him by a Neapolitan street urchin (Alfonsino Pasca) after he got drunk and passed out; a Roman prostitute (Maria Michi) picks up a drunk American (Gar Moore), but when he tells her of the beautiful, innocent woman he met six months earlier in Rome she realizes that she was the woman; an American nurse (Harriet Medin) accompanies a partisan into the German-occupied section of Florence in search of an old lover; three American chaplains visit a monastery in a recently freed section of Northern Italy, but only the Catholic chaplain (William Tubbs), who speaks Italian, realizes that the monks are deeply shocked that his two companions are a Protestant and a Jew. Only the final -- and the best, most harrowing -- section deals with the traditional concept of the fog of war, as Allied soldiers try to aid Italian partisans in their fight with the retreating but still fierce Germans. As in many Italian neorealist films, the actors are either non-professionals or unknowns, and their uneasiness with scripted dialogue sometimes shows -- at least it does with the English speakers; I can't judge the ones who speak Italian or German. There is also occasional sentimental overuse of the score by the director's brother, Renzo Rossellini. But on the whole, Paisan is still an extraordinarily compelling film, an essential portrait of war and its effects, made more essential by having been filmed on location amid the ruin and rubble so soon after the war ended. Glimpses of the emptied streets of Florence, bare of tourists and trade, are startling, as are the scenes that take place in the marshlands of the Po delta in the final sequence. The screenplay earned Oscar nominations for Alfred Hayes, Federico Fellini, Sergio Amidei, Marcello Pagliero, and Roberto Rossellini, but lost to Robert Pirosh for the more conventional war movie Battleground (William A. Wellman, 1949).

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DESIDERIO - (Roberto Rossellini & Marcello Pagliero, 1943-1946)

"Tired of being a prostitute, Anna (Elli Parvo) decides to come back to her native village but her return is not what she imagined for herself: in the family she is welcomed with hostility and while her brother-in-law Nando (Massimo Girotti) goes nuts over her, the slimy Riccardo (Francesco Grandjacket) blackmails her by threatening to tell her past to her naive boyfriend (Carlo Ninchi) ".

Rossellini, influenced by "Ossessione" (Luchino Visconti, 1942), began the film (temporary title: "Scalo merci") in 1943 from a screenplay by Giuseppe De Santis, Rosario Leone and Diego Calcagno but the war events forced him to stop shooting and rewrite the plot (new title: "Rinuncia"); director Marcello Pagliero completed the movie (following Rossellini's suggestions) after the end of the war but the censorship intervened heavily. Nowadays a complete version is available that allows us to judge and criticize the movie as it deserves.

I can note all the elements of the great verist melodrama are evident in the film and there is much moralizing rethorics but some values are present and undeniable like the condemnation of the family and the explicit treatment of sex as a motive of human deviance (and Elli Parvo shows also her bare breast). Rossellini tries to represent the inner life of his characters and their inability to communicate by relating to themes of his future masterpieces, from "Germania anno zero" to the films with Ingrid Bergman.

r.m.

R.M.

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Rome, Open City (1945)

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Putain Respectueuse, 1952

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desiderio (1946)

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Movie #64 of 2020: Paisan

“If you fall asleep, I’ll steal your shoes.”

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Roma, città aperta (a.k.a. Rome, Open City) (Roberto Rossellini, 1945)

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Rome, ville ouverte / Un curé et un résistant sifflent ensemble un air connu.

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Anna Magnani in Open City (Roberto Rossellini, 1945) Cast: Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Vito Annichiarico, Francesco Grandjacquet, Carla Rovere, Maria Michi, Harry Feist, Giovanna Galletti. Screenplay: Sergio Amidei, Federico Fellini, Roberto Rossellini, Alberto Consiglio. Cinematography: Ubaldo Arata. Music: Renzo Rossellini. The considerable reputation of Roberto Rossellini's Open City lies in its place in film history, as a pioneering work of what came to be known as neorealism. But it often feels more conventional and traditional than subsequent films in that genre, like Vittorio De Sica's Shoeshine (1946) and Bicycle Thieves (1949) or Rossellini's own Paisan (1946). Its most famous moment, Pina's (Anna Magnani) run after the truck carrying away Francesco recalls Renée Adorée's pursuit of the truck that carries John Gilbert to the Front in The Big Parade (King Vidor, 1925), and Open City depends very much on such melodramatic scenes, centered on established actors like Magnani and Aldo Fabrizi instead of neorealism's dependence on nonprofessional performers. It also relies rather heavily on stereotypes, especially Harry Feist's sneering Übermensch of an SS officer and the predatory lesbian Ingrid (Giovanna Galletti), who is just one step away from the cliché She-Beast of the Third Reich. But none of this really detracts from the film's brilliance or its status as one of the greatest of films. It was made under the harshest of circumstances. That it was made at all is astonishing, but that it is so good and so moving is miraculous.