Television review Rome – the open city is a masterpiece by Roberto Rossellini, whose tragic feelings still resonate today

The open city of Rome touches on the national longing for freedom without dictatorial occupation.

Drama

Rome – open city ★★★★★

Roma, Città aperta, Italy 1945

Theme at 9 pm and Yle Areena (K12)

Rome – open city dates back to the months of the end of World War II, when the Italian capital was occupied by former German brothers-in-arms.

The resistance movement paved the way for the social mainstream under whose leadership the nation was constructive in its society after the war.

The film was not the first to represent neorealism born in warring Italy, however Roberto Rossellinin an internationally acclaimed work made the genre world famous.

Neorealism often depicts ordinary people in distress in real filming locations without cinematic gimmicks. It combines a documentary perspective and the emotional power of a melodrama.

In its social undertone, the characters are as much representatives of their reference groups as individuals. Unknown amateurs were used as actors.

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The style trend that has flourished for less than a decade left a strong mark, and the classics of neorealism are still valued in the listings of the best films of all time.

Rossellin filming of the film began in January 1944. Due to a shortage of material, different film qualities had to be used. The entire film was dubbed. It premiered in the fall of 1945.

Rome – an open city indicated how the new Italy would be built side by side by Catholics and Communists. Everyday life was run by women, and everything was witnessed, and many children participated, unprotected children.

Anna Magnani presents a single parent to help their community. Marcello Pagliero plays a well – known resistance leader as an engineer, and Aldo Fabrizi pappia.

Substance abuse and lesbian subjugation are immersed in plot twists as side themes of the report.

Gestapon The premises are seen as a ludicrous contrast: music is playing and drinks are flowing in the officers ’parlor as information is being tortured from interrogators in the adjoining chamber.

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Violence like the startling interrogation period was reportedly not seen in the movies before. War was painfully on the skin when the film was made, and neorealism did not hide its raw reality.

A German who condemns his own cruelty also speaks as the voice of humanism. In Germany, the film was banned.

Touchingly the described national longing for freedom without dictatorial occupation tragically compares to the violent repression of those who preserve independence today.

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