✯✯✯ Rome Open City Scene Analysis Essay

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Rome Open City Scene Analysis Essay



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Rome Open City essay

Don Pietro is scheduled to officiate at Pina's and Francesco's wedding the next day. Francesco is not very religious, but rather would be married by a patriot priest than a fascist official; Pina, on the other hand, is devout, but wrestling with why God would allow such terrible things to happen to people. Her son, Marcello, is a somewhat reluctant altar boy. He and his friends have a small role in the Resistance planting bombs. Pina's sister Laura stays with her, but is not involved in the Resistance; in fact, she works in a cabaret serving the Nazis and Fascists. She is also an old friend of Marina, a girlfriend of Giorgio who has been looking for him, but with whom he is splitting up.

Marina also works in the cabaret and as an occasional prostitute. The local SS commander in the city, helped by the Italian police commissioner, suspects that Giorgio is at Francesco's apartment. They conduct a huge raid, pulling out all the people and arresting dozens of men. Giorgio gets away, but Francesco is thrown in a truck with other arrestees. Seeing him being taken away, Pina breaks through a cordon of police and runs towards him, but is shot dead. The priest, who was in the building to hide weapons, under the guise of praying for a dying man, holds her in his arms and prays for her soul.

The truck drives away in a convoy with military vehicles, but outside of town it is attacked by Resistance fighters, and many of the captives escape. Francesco makes it back into Rome and reconnects with Giorgio. Together they go to the priest, who has offered to hide them in a monastery. Marina betrays her former lover in exchange for drugs and a fur coat. Using information given by Marina, the Gestapo and Italian police capture Giorgio and the priest, along with an Austrian defector, on their way to the monastery.

Francesco is saying goodbye to Marcello, and sees them get picked up and gets away. The defector, fearing torture, hangs himself in his cell. The Gestapo try to get Giorgio to betray his comrades, but it is in vain. He does not respond to sweet talk, so they torture him intensely; they want to break him before word gets out that he was arrested, so they can take the Resistance by surprise with the information they hope to extract from Giorgio. They also try to use Don Pietro's influence on Giorgio to convince him to betray his cause, saying that he is an atheist and communist who is the enemy, but Don Pietro responds that anyone who strives to live a righteous life is on the path of God whether they believe in Him or not.

They then force Don Pietro to watch Giorgio's torture. When Giorgio dies without revealing anything, Don Pietro blesses his body and commends him to God's mercy last rites and sacraments cannot be given to someone who has died. Giorgio's refusal to yield shakes the confidence of the Germans, including the commander, who had boasted to the priest and the collaborating woman that they were the " master race ", and no one from a " slave race " could withstand their torture.

Marina and a German officer stumble into the scene while intoxicated; she faints when she sees that the Germans have tortured Giorgio to death rather than treat him well as she had been led to expect. Realizing that she was responsible for this, she passes out. The Gestapo chief and the collaborator decide that she is now useless to them and arrest her, taking away the fur coat they had given her as a bribe.

Don Pietro still refuses to crack, so he is taken to be executed early the next morning before his parish can learn of his arrest and respond with a protest. The Italian firing squad is lined up to execute Don Pietro, but some deliberately miss him. The German officer in charge of the execution squad walks over to Don Pietro as soon as he realizes that the Italians will not kill a priest, and executes Don Pietro himself. At this, the altar boys and Resistance fighters grow silent, bow their heads in grief, and slowly walk away. As the kids make way back into the city, a final shot of the city of Rome and St. Peter's Basilica can be seen clearly in the background. By the end of World War II, Rossellini had abandoned the film Desiderio , as conditions made it impossible to complete though it was later was finished by Marcello Pagliero in and disowned by Rossellini.

By , there was virtually no film industry in Italy, and the origins of the film's initial funding are unclear. Rossellini had initially planned a documentary titled Storie di ieri on the subject of Don Pieto Morosini , a Catholic priest who had been shot by the Germans for helping the partisan movement in Italy , and began meeting with a number of screenwriters in Rome shortly after the city's liberation.

Federico Fellini was initially uninterested in joining, as he had disapproved of partisan action during the occupation. Shooting for the film began in January under precarious conditions, with its style developing from circumstance. Aldo Venturini, a wool merchant, who in the immediate post-war Roman period had strong financial resources, was involved in the financing of the film. After a few days of shooting production had stopped due to lack of liquidity, and it was Rossellini who convinced the merchant to complete the film as a producer, making him understand that that was the only way to recover.

New Yorker Rod E. Geiger , a soldier in the Signal Corps , who eventually became instrumental in the movie's global success, met Rosselini at a point when they were out of film. Geiger had access to the film units at the Signal Corps that regularly threw away short-ends and complete rolls of film that might be fogged, scratched, or otherwise deemed unfit for use, and was able to obtain and deliver enough discarded stock to complete the picture.

In order to authentically portray the hardships and poverty of Roman people under the occupation, Rossellini hired mostly non-professional actors for the film, with a few exceptions of established stars including Fabrizi and Anna Magnani. On the making of the film, Rossellini stated that the "situation of the moment guided by my own and the actors' moods and perspectives" dictated what they shot, and he relied more on improvisation than on a script. He also stated that the film was "a film about fear, the fear felt by all of us but by me in particular. I too had to go into hiding. I too was on the run. I had friends who were captured and killed. Four interior sets were constructed for the more important locations of the film. Production ended in June of with the shooting of the final scene.

It was believed that the actual film stock was put together out of many different disparate bits, giving the film its documentary or newsreel style. But, when the Cineteca Nazionale restored the print in , "the original negative consisted of just three different types of film: Ferrania C6 for all the outdoor scenes and the more sensitive Agfa Super Pan and Agfa Ultra Rapid for the interiors. It was one of the early Italian films of the war to depict the struggle against the Germans, unlike the films made in the early years of the war when Italy was Germany's ally under Mussolini that depicted the British, Americans, Greeks, Russians and other allied countries, as well as Ethiopians, communists, and partisans as the antagonists.

After the Allied Invasion of Italy in , Italian morale crumbled, and they agreed to a separate peace with the allies, causing their former German allies to occupy large parts of Italy, intern Italian soldiers, deport Italian Jews to concentration camps, and treat many of its citizens with disdain for what they saw as a cowardly betrayal by one of their major allies. The film opened in Italy on 27 September , with the war damage to Rome not yet repaired. The American release was censored, resulting in a cut of about 15 minutes. The story of the film's journey from Italy to the United States is recounted in Federico Fellini 's autobiographical essay "Sweet Beginnings".

Rod E. Geiger , a U. Army private stationed in Rome, met Rossellini and Fellini after catching them tapping into the power supply used to illuminate the G. In gratitude, Rossellini gave Geiger a co-producer credit. However, According to Fellini's essay Geiger was "a 'half-drunk' soldier who stumbled literally as well as figuratively onto the set of Open City. When Giorgio dies without revealing anything, Don Pietro gives him the sacraments. Giorgio's ex-girlfriend Marina and a German officer stumble into the scene while intoxicated; she faints when she sees that the Germans have tortured Giorgio to death, rather than treat him well as she had been led to expect.

Realizing that she was responsible for this, she passes out. The Gestapo Chief and the collaborator decide that she is now useless to them and arrest her, taking away the fur coat they had given her as a bribe. Don Pietro still refuses to crack, so he is taken out to be executed early the next morning, before his parish can learn of his arrest and respond with a protest. The Italian firing squad is lined up to execute Don Pietro, but some deliberately miss him.

The German officer in charge of the execution squad walks over to Don Pietro as soon as he realizes that the Italians will not kill a priest, and executes Don Pietro himself. By the end of World War II, Rossellini had abandoned the film Desiderio because conditions made it impossible to complete it was later finished by Marcello Pagliero in and disowned by Rossellini. By there was virtually no film industry in Italy and no money to fund films.

Rossellini had met and befriended a wealthy elderly lady in Rome who wanted to finance a documentary on Don Pieto Morosini , a Catholic priest who had been shot by the Germans for helping the partisan movement in Italy. Rossellini wanted actor Aldo Fabrizi to play the priest in reenactments and contacted his friend Federico Fellini to help get in touch with Fabrizi. By then the lady had agreed to finance an additional documentary about Roman children who had fought against the German occupiers.

Fellini and screenwriter Sergio Amidei suggested to Rossellini that, instead of two short documentaries, he should make one feature film that combined the two ideas, and in August , just two months after the Allies had forced the Nazis to evacuate Rome, Rossellini, Fellini, and Amidei began working on the script for the film. The devastation that was the result of the war surrounded them as they wrote the script. Shooting for the film began in January The funding from the elderly Roman lady was never enough and the film was crudely shot due to circumstances, and not for stylistic reasons. New Yorker Rod E. Geiger , a soldier in the Signal Corps , who eventually became instrumental in the movie's global success, met Rosselini at a point when they were out of film.

Geiger had access to the film units at the Signal Corps that regularly threw away short-ends and complete rolls of film that might be fogged, scratched, or otherwise deemed unfit for use, and was able to obtain and deliver enough discarded stock to complete the picture. In order to authentically portray the hardships and poverty of Roman people under the occupation, Rossellini hired mostly non-professional actors for the film, with some exceptions of established stars including Fabrizi and Anna Magnani. On the making of the film, Rossellini stated that the "situation of the moment guided by my own and the actors' moods and perspectives" dictated what they shot, and he relied more on improvisation than on a script.

He also stated that the film was "a film about fear, the fear felt by all of us but by me in particular. I too had to go into hiding. I too was on the run. I had friends who were captured and killed. Four interior sets were constructed for the most important locations of the film. It was believed that the actual film stock was put together out of many different disparate bits, giving the film its documentary or newsreel style. But, when the Cineteca Nazionale restored the print in , "the original negative consisted of just three different types of film: Ferrania C6 for all the outdoor scenes and the more sensitive Agfa Super Pan and Agfa Ultra Rapid for the interiors.

Rome, Open City received a mediocre reception from Italian audiences when it was first released, when Italian people were said to want escapism after the war. However, it became more popular as the film's reputation grew in other countries. Some Italian critics also maintained that neorealism was simply a continuation of earlier Italian films from the s, such as those directed by filmmakers Francesco De Robertis and Alessandro Blasetti.

Bosley Crowther , film critic for The New York Times , gave the film a highly positive review, and wrote, "Yet the total effect of the picture is a sense of real experience, achieved as much by the performance as by the writing and direction. The outstanding performance is that of Aldo Fabrizi as the priest, who embraces with dignity and humanity a most demanding part.

Marcello Pagliero is excellent too, as the resistance leader, and Anna Magnani brings humility and sincerity to the role of the woman who is killed. The remaining cast is unqualifiedly fine, with the exception of Harry Feist in the role of the German commander. His elegant arrogance is a bit too vicious—but that may be easily understood. The film opened in Italy on September 27, , with the war damage to Rome not yet repaired. The American release was censored, resulting in a cut of about 15 minutes. The story of the film's journey from Italy to the United States is recounted in Federico Fellini 's autobiographical essay, "Sweet Beginnings. Geiger , a U. Army private stationed in Rome, met Rossellini and Fellini after catching them tapping into the power supply used to illuminate the G.

Fellini's account of Geiger's involvement in the film was the subject of a defamation lawsuit brought by Geiger against Fellini.

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