Roma, citta aperta (Open City).

Roberto Rossellini is credited with being one of the founding fathers of the Italian neorealist cinema movement along side directors like Luchino Visconti who went on to direct one of the UK’s best actors, Dirk Bogarde at a crucial period in the actors career namely The Damned in1969 and Death in Venice in 1971.  But it was Rossellini who first made an impact outside of Italy with his acclaimed war trilogy, which was ‘a series of films tracing the progression of the Allied forces from Rome to Berlin and chronicling the impact of the devastation of World War 2’[1], the first of which was Roma, citta aperta (1945). The following two films, Paisa (1946) and Germania anno zero (1948) never quite reached the international prominence that this first film did.

 

The Priest.

Made just months after the war it ticked all the boxes that made this film a classic neorealist masterpiece, which included using stories set amongst the poor and working class, the bulk of the filming done on location and the use of non professional actors plus the utilisation of available light and any film stock that was obtainable at the end of WW2 giving the whole project a documentary feel. Almost a template for the films of Britain’s best filmmaker Ken Loach? 

 

The resistance fighter.

Rossellini originally had planned to make two documentaries, one about Rome’s young children who had fought bravely against the German occupiers and the other about Don Pieto Morosini a Catholic priest who was shot by the Germans for helping the resistance. But because of the lack of finance and film stock it was decided to make one feature film incorporating both stories and also including the true story of Teresa Gullace who was killed by the Germans in front of their barracks after running after the truck that was abducting her fiancé - a suspected member of the resistance.

 

The children.

There is no doubt that this movie is a superb example of the genre, telling the story of a group of resistance fighters who were attempting to keep out of the clutches of their Nazi oppressors. It stars Anna Magnani, who became one of Italy’s best-known actresses and one you will no doubt remember from Pasolini’s Mamma Roma (1962), and actor and director Aldo Fabrizi who appears as the priest. It’s a very powerful movie and succeeds as a valid description of the society and history of that time. 

The most famous image from this wonderful film. 

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[1] Jay McRoy

Mamma Roma.

Mamma Roma with her son Ettore.

The tragic Italian film director Pier Paolo Pasolini continues to inspire filmmakers, even after his violent death in 1975 prevented his career from reaching its full potential. Pasolini, like Fassbinder a generation later, lived at the cutting edge of scandal be it his private life, never denying his sexual orientation or his oeuvre which never shied away from depicting the darker side of humanity.  

The wonderful Anna Magnani.

Pasolini’s second feature film Mamma Roma (1962) is probable his least known but considered to be his most accessible and like most of his films was banned upon its release in Italy for obscenity. Written by the controversial director, novelist and poet it tells the story of Mamma Roma, a middle aged hooker who moves from the country to the big city (Rome) to start a new life with her son Ettore (Ettore Garofolo in his debut feature film). Attempting to leave behind her sordid past she sets up a fruit and vegetable stall in the local market.  When her ex pimp turns up unexpectedly it sets her life spiralling back into disarray.

Things don't always go as we would like!

This wonderful neo-realist movie allows us an unflinching look at the struggle for the marginalised and dispossessed in post-war Italy.  The film will always remain a classic for the fabulous performance from Anna Magnani as the mother that will literally do anything to protect her teenage son. Pasolini, not known for his work with established actors, had conceived this part for the fine-looking Magnani. Religious imaginary is always present in this director’s work and Mamma Roma is no exception with the Last Supper wedding scene at the beginning of the movie and the barely concealed crucifix imagery at the film’s conclusion. This is a great place to start if you’re not familiar with Pasolini’s diminutive body of work.