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Open City

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Product Details

  • Actors: Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Vito Annichiarico, Nando Bruno
  • Directors: Roberto Rossellini
  • Writers: Roberto Rossellini, Alberto Consiglio, Federico Fellini, Sergio Amidei
  • Producers: Roberto Rossellini, Ferruccio De Martino, Giuseppe Amato
  • Format: AC-3, Black & White, DVD-Video, NTSC
  • Language: Italian
  • Subtitles: English
  • Region: All RegionsAll Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • MPAA Rating: NR
  • Studio: eOne Films
  • Release Date: Oct. 1 2002
  • Run Time: 103 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (13 customer reviews)
  • ASIN: 6305075573
  • Amazon Bestsellers Rank: #43,434 in DVD (See Top 100 in DVD)

Product Description

Product Description

The stars play an impoverished mother-to-be and a parish priest whose loyalties are tested by the sinister German forces that occupy their homeland during World War II.

The Allies had barely driven the Nazis out of Rome when Roberto Rosselini went to work on Open City, considered by most to be his greatest work. Shot on bits and short ends of scavenged film, this film helped define Italian neorealism. Audiences were convinced that the actors were all amateurs (they weren't) and the whole film was improvised (it wasn't; the three screenwriters included Federico Fellini). With its semidocumentary camera style and use of actual locations, the film does feel very real. Of course, so does the opening half-hour of Saving Private Ryan, and like that film Open City is at its heart a classic war yarn any Hollywood studio would feel at home with. The story involves members of the Italian underground trying to smuggle badly needed cash out of Nazi-occupied Rome to partisan fighters in the mountains, while the Nazis are hunting down one of the underground, a notorious freedom fighter and seditionist. Anna Magnani (an actor well established in her own country who became an international star with this film) is often singled out for her portrayal as the pregnant, unwed woman who gets caught up in the action on her wedding day, but the entire cast is topnotch. The sparse subtitles are both a blessing and a curse--there is less to read, which allows the viewer to concentrate on the visuals, but there are times when non-Italian-speakers will feel like they're missing out on some juicy dialogue. --Geof Miller

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Customer Reviews

4.3 out of 5 stars
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Most helpful customer reviews

3 of 3 people found the following review helpful By E. Dolnack on April 25 2003
Format: DVD
This is an awesomely powerful film - great movie! This is a must-see film for all movie fans worldwide. I loved the characters! They are so memorable - wonderful characters!
There are so many subtleties in this film, such as the "inverted" sexuality of the evil Nazi leaders, the cooperation of the Catholic clergy and the Communist rebels, the "good wife" vs her wanna-be starlet younger sister, the future of Italy expressed by the children at the end of the film, etc that it takes several viewings to absorb it all, but the ride is worth it.
The DVD is mastered at somewhat less than perfect standards however and the subtitling is part of the film and not overlaid and clearer in image unfortunately. There are no extras on the DVD, nor is there an audio-commentary track which would have been a wonderful addition! (Maybe next time).
Still, this is a brilliant film and I highly recommend it!!!
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4 of 4 people found the following review helpful By tom on Jan. 17 2002
Format: DVD
I wonder about some complaints over this DVD. The transfer is fine - it's an old, black-and-white film and for all that looks pretty darn good. Less than 5% of the dialogue is untranslated in subtitles, and as an Italian speaker I can tell you what's left out is insignificant chit chat.
See it for the fine performances, the achievement of its making, and for the history it portrays.
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1 of 1 people found the following review helpful By darragh o'donoghue on Dec 14 2001
Format: VHS Tape
After Melville's 'Army of Shadows', 'Rome Open City' is the best film about Resistance to the Nazis we have. From the dynamic opening sequence - in which a man, later to be identified as the leader of the (Marxist) Liberation Committee, runs across high-rise rooftops to escape a Gestapo round-up - the tension never lets up. Rossellini concentrates as much on the mundane details of clandestine activities, pumped up by context, as on action: the practicalities of finding somewhere to hide and sleep; the concealing of funds in books; the different codes and signals used to identify comrades. But it is the more familiar aspects of Resistance that carry the most impact - the ambush of prisoner trucks; the unflinching depiction of interrogation and torture (including whips and blowtorches); the ritual of execution.
Melville's film was made with the hindsight of three decades, and he was able to emphasise the ambiguity of the Resistance, their own violence echoing that of the SS; their need to live in shadows dissolving, rather than affirming, their identity, forever removed from the society they defend. Filmed in the immediate aftermath of Liberation, there is no such ambiguity in 'Rome'. There are no posturing heroics, but these men are heroes, and every important incident - from arrest to torture to execution, is made into a spectacle, something to be witnessed, affirmed. This is natural enough, and the spiritual showdown between the priest and the Gestapo chief has a fierce power.
Unfortunately, there is a somewhat distasteful division of moral spoils - the Resistance are linked, no matter how loosely, to the Christ-like clergy, family, community, poverty, the nation. Betrayal and collaboration, which is female, is defined by lesbianism, drug-taking, nightclubs and material greed.
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By A Customer on Oct. 1 1999
Format: VHS Tape
Open City is a film that I had heard of once, vaguely, in a magazine article, a title that for some reason had stuck in my head until I came across it in a video store years later. Interested, my memory sparked by the title, I decided to give it a try. As a film student I felt obligated to see something other than American dramas.
Having seen the film in the privacy of my studio apartment, in all the breathtaking expanse of my thirteen-inch television screen, I can only say that this film must have felt like an event to anyone who had the good fortune to see it on the big screen. I am unable to forget several of the scenes, not that I would ever want to, and much of the film's commentary is valid to this day -- a mark of a truly timeless film, one which was born out of one kind of suffering and still speaks to us this day, fifty years later.
The performances are subtle, the sentiment universal, and the cinematography precise and memorable, offering up haunting visions of hope and hopelessness for generations of people who will never have to suffer through the kind of war the Italians and countless others did in World War II. Perhaps anyone who ever considers waging war in the future should be encouraged to watch a handful of films on the subject, and perhaps Open City should be chief among them. This is a film that will stay with you long after the final scene, long after the final vision of hope is cast out and reborn.
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Format: VHS Tape
Open City is generally considered to be in the top ten films of all time in terms of historical cinematic importance, stylistic achievement, and emotional power. It established the modern film, using available light, actual settings and a mix of theatrical and non-theatrical actors. Its musical score is breathtaking. It remains the first modern film, the first Italian neo-realist film, and possibly the most powerful film ever made. I have seen it three times in a theatre. Each time, virtually the entire audience was overwhelmed, sobbing uncontrolably at the end of the picture.
There has been so much written about this picture, I will only mention a few details. It was shot in Rome using captured German newsreal film as the Nazis left town. (Which is the reason the film quality bounces around as the differing film stocks were used.) When Ingrid Bergman saw the picture, she fell in love with the director she had never met, left her husband, flew to Italy, and married Rossellini.
There are too many great scenes to list. Let me just say that the near-final scene when the little priest damns the German officer and then apologizes to God is, for me, the single greatest moment in film.
Open City should be seen and owned by anyone interested in the movies.
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