Synopsis
Our battle has barely begun.
During the Nazi occupation of Rome in 1944, the leader of the Resistance is chased by the Nazis as he seeks refuge and a way to escape.
' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_ec2ae99e-e5b3-43f1-a61f-6f318c7fb05a" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-ec2ae99e-e5b3-43f1-a61f-6f318c7fb05a'; adUnit.className = 'pw-div'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'sky_btf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-ec2ae99e-e5b3-43f1-a61f-6f318c7fb05a'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-ec2ae99e-e5b3-43f1-a61f-6f318c7fb05a'));
Rome, Open City
Cast
Director
Producers
Writers
Story
Editors
Cinematography
Assistant Directors
Camera Operator
Production Design
Composer
Sound
Studios
Country
Primary Language
Spoken Languages
Alternative Titles
Roma, ciudad abierta, 不設防城市, Rome, open stad, Рим, открит град, Roma, Cidade Aberta, Aaben By, Rooma - avoin kaupunki, Rome, ville ouverte, Romi, gia qalaqi, 무방비 도시, Rome, Open Stad, Roma, Ciudad Abierta, Öppen stad, 罗马不设防, Rom - åpen by, Rome, Open City, Rom, offene Stadt, Roma città aperta, 罗马，不设防的城市, Rom, öppen stad, Рим, открытый город, Róma nyílt város, רומא עיר פרזות, Řím, otevřené město, 無防備都市, Rooma – avoin kaupunki, Pим: Открит град, Roma, Açık Şehir, Ρώμη, Ανοχύρωτη Πόλη, რომი, ღია ქალაქი, Rzym, miasto otwarte, Roma, ciutat oberta
Genres
Themes
Releases by Date
Premiere
-
Italy
Rome International Film Festival
Theatrical limited
09 Feb 1948
-
South Africa
08 Mar 1948
-
South Africa
19 May 1948
-
South Africa
09 Sep 1969
-
Spain
14 Oct 1969
-
Spain
02 Dec 1984
-
Portugal
Theatrical
08 Oct 1945
-
ItalyT
01 Jan 1946
-
Brazile 16
25 Feb 1946
-
USA
13 Oct 1946
-
Denmark
13 Nov 1946
-
FranceTP
07 Feb 1947
-
Argentina+16
03 Mar 1947
-
Sweden15
13 Oct 1947
-
Portugal
-
USSR
12 Nov 1947
-
Uruguay
26 Feb 1948
-
Mexico
06 Nov 1948
-
Australia
06 Dec 1948
-
Greece
17 Nov 1950
-
Japan
06 May 1954
-
Hungary18
23 Dec 1955
-
FinlandK-16
21 Feb 1961
-
Germany
22 Jul 1983
-
Portugal
31 Mar 2014
-
Italy
02 Apr 2015
-
PortugalM/12
30 Jun 2021
-
FranceTP
Physical
30 Mar 2015
-
Netherlands12
TV
12 Dec 2015
-
Brazil16
Releases by Country
Argentina
07 Feb 1947
- Theatrical+16
Australia
06 Nov 1948
- Theatrical
Brazil
01 Jan 1946
- Theatricale 16
12 Dec 2015
- TV16 TV Futura
Denmark
13 Oct 1946
- Theatrical
Finland
23 Dec 1955
- TheatricalK-16
France
13 Nov 1946
- TheatricalTP Visa CNC 4605
30 Jun 2021
- TheatricalTP Reprise
Germany
21 Feb 1961
- Theatrical
Greece
06 Dec 1948
- Theatrical
Hungary
06 May 1954
- Theatrical18
Italy
24 Sep 1945
- Premiere Rome International Film Festival
08 Oct 1945
- TheatricalT
31 Mar 2014
- Theatrical Re-release
Japan
17 Nov 1950
- Theatrical
Mexico
26 Feb 1948
- Theatrical
Netherlands
30 Mar 2015
- Physical12 DVD
Portugal
13 Oct 1947
- Theatrical
22 Jul 1983
- Theatrical Re-release; Restored version
02 Dec 1984
- Theatrical limited Porto, Cineclube do Porto
02 Apr 2015
- TheatricalM/12 Re-release
South Africa
09 Feb 1948
- Theatrical limited Cape Town
08 Mar 1948
- Theatrical limited Johannesburg
19 May 1948
- Theatrical limited Durban
Spain
09 Sep 1969
- Theatrical limited Barcelona
14 Oct 1969
- Theatrical limited Madrid
Sweden
03 Mar 1947
- Theatrical15
USA
25 Feb 1946
- Theatrical
USSR
13 Oct 1947
- Theatrical Субтитры – субт. маст. ГУКиК , 1947 г.
Uruguay
12 Nov 1947
- Theatrical
Popular reviews
More-
Remember those old movies? The ones where a couple drives down the road, only they aren’t driving, they’re sitting in a car on some studio lot. And that’s not a road behind them; it’s a rear projection of road. Looks fake doesn’t it?
Did this fakery bother audiences back then? Not in the slightest. Back in the 1920s, ’30s and even into the ’40s, movies were about beautiful people living in fabulous mid-city apartments, dressing glamorously, saying the right thing at the right time and always finding a parking space. Movies were not reality; they were dream machines. And everyone seemed pretty happy with that. That was, until World War II came along.
Not only did World War II change…
-
Ingrid Bergman cited this film often in her interviews and autobiography. It was her introduction to Rossellini's work, and it eventually became the spark that led her to write the Italian director a letter that would change her entire career. For Ingrid, she had never seen a film so visceral, so realistic, so lacking in all the typical Hollywood embellishments. It is kind of astonishing that—73 years later— I am having the same reaction.
Through modern eyes, I do see how the astonishing "realism" does not quite hold up. There are embellishments, but it's important to view the film in the context of its time. There, the film transforms into a cinematic experience so rarely felt. The heartbreak and emotional…
-
Though remembered as an ally of the Axis during WWII, what isn't as well known is the German occupation of Italy during the tail end of the war. This was a time when Italy had already been invaded and defeated by Allied forces, agreeing to a peace which led to former-ally Germany to invade in-turn and deport Italians to concentration camps for what they saw as a betrayal.
I say this because I did not know this going in. It's undoubtedly a shame and I really should be more aware of modern world history considering how close it is, a struggle that I feel is never ending because there is just always so much to learn that we will never…
-
It is a shame the term "neorealism" stuck as it loaded with expectations that a movie like Open City has little interest in fulfill. As drama it isn't that far off a war-time resistence tale (only post liberation it is about making history endure instead of boost morale), but with a stroger urgency. It is the first person more than the newsreel quality that speaks loudly. Rossellini major achievement is his orchestration of underworld of paranoia, counter plots and actions.
-
Neorealism at its most frightfully realistic. There are films that blur the line between documentary and fiction, and then there’s Rome, Open City. With production beginning just two months after the allies forced the Nazis to evacuate Rome, history is made concrete through Rossellini’s harrowing study of a city in ruin. The power of non-actors performing in a genuine landscape of decay and decimation is peerless, the setbacks of pacing and continuity lapses proving almost insignificant to the bigger picture. So audacious and rousing was the recreation of the German invasion that during the shooting of a sequence in which a priest is dragged violently into a car, a passing citizen was said to have pulled a gun on the…
-
in doing what could be considered to have ushered in the beginnings of the Italian neorealist movement, Roberto Rossellini created a masterpiece of world cinema.
the introduction to this documentary-style filmmaking, allowing those real feelings of horror to seep their way into the realities of true-fiction, creating this effect that you are truly watching the suffering that is occurring before you.
i think what is most beautiful, yet obviously very difficult and heartbreaking to watch, is the relentlessness of the people of Rome in their fight against an evil, oppressive force that would have stopped at nothing to take control of the place they had called home. it’s this sense of belonging, this idea of holding so dearly what you…
-
Hot DAMN this movie made me hate some Nazis.
“But Jordan,” you say, “They’re Nazis. That’s not hard to do.”
Ok, lemme explain here. The way that Rossellini makes you hate Nazis in “Rome, Open City” is to the point of causing a physical reaction.
Documentaries on genocide can stir immense anger and loss with their realism in the portrayal of atrocities. The shock comes from needing to accept the actuality of events, even while the mind wants to reject them as false because of the extent of their horror.
Rossellini accomplishes similar emotion, but through a basis in melodrama; previously the genre property of pro-fascist filmmakers in axis-era WWII Italy.
Rossellini’s brand of melodrama isn’t confined to the…
-
***One of the best 150 films I have ever seen.***
The neorealist Italian cinema has been one of the most inspiring, powerful and brutally honest artistic movements that have ever been orchestrated in cinema history. While an economically and socially destroyed world caused by one of the greatest wars in the history of humanity was searching for hope and a new start, Roma, Città Aperta was released in Italian movie theaters in September once that World War II had ended. It was precisely with the masterwork Roma, Città Aperta that the Italian neorealism achieved to acquire world fame as a revolutionary protest movement towards the crude reality people constantly lived in. Despite the fact that the film didn't quite possess…
-
"É fácil morrer bem. Difícil é viver bem"
"Roma, Cidade Aberta" é muito mais que um filme. É o retrato de uma sociedade, e principalmente de uma cidade, que não perde a esperança. Digo mais: é o esforço brutal de um realizador que merece toda a atenção da história do cinema. Rossellini passa por peripécias que colocam sua vida e a de sua equipe em risco para terminar o filme. Apesar de tudo, ele consegue finalizá-lo, e nós recebemos uma enorme recompensa.
Além de iniciar um dos mais importantes movimentos do cinema e da arte, o neorrealismo italiano, que apresenta uma estética muito realista e fiel à sociedade pós-guerra, "Roma, Cidade Aberta" é uma obra quase documental, que mostra o…
-
An ensemble cast including Aldo Fabrizi and Anna Magnani star in Roberto Rossellini’s neorealist drama set in occupied Rome, exploring a range of characters connected by a Resistance fighter and the impact this has on their lives.
It’s a incredibly potent portrait of the time, refusing to shy away from the horrors situation whilst showing the sense of community and identification that unites the Italians featured. Despite all that happens, the film is shot through with a strong empathy and sense of hope that’s adds to its overall power, showing a light at the end of the tunnel through the dark times portrayed.
Rossellini was a deeply humanist filmmaker, and as a result the characters are incredibly well observed, each…
-
Rome, Open City is cinema soaked in history, because the context in which it was made makes it more powerful. It's a film about occupied Rome, pertinent because it was actually shot during wartime. These events were raw in the minds of the audience. Rome, Open City is not a cheerful film at all, being harsh and despondent. The Rome here is one destroyed, as people scramble for bread and hope. This is a film of wartime life, made in the dying flames of wartime. The characters in the film reveal their naivety, as they believed the war would end quickly or a better world would arise. How many felt similarly? Rome, Open City is a neorealist film, but it's…
-
Set immediately after the Italian government declared the capital an open city on August 14th 1943, Roberto Rossellini’s Rome, Open City is palpably tormented by outrage. Political fury was fundamental to the filmmaker's neorealist trilogy (which also includes Paisan and Germany Year Zero) and the debris of the freshly liberated city clusters the on-location shooting. The film follows the Nazis and Italian fascist authorities embarking on a hunt for a freedom fighter, and its primary connotations are born from the sentiments of resurgence.
The recentness of the dramatisation to the actual events bestows the film with extraordinary nuance and genuineness, and its documentary appearance and unforgettable conception of political struggle carry graceful intricate dimensions. The cast is made up mainly from the filmmaker's common preference for amateur performers, and they merge seamlessly into the war-torn environment. However, there are also some moments of customary humour which offer some light respite within the otherwise overpowering hardships of everyday life.
Similar Films
Powered by Nanocrowd
