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But its impact was that of a raw slice of reality, something that had seldom been seen in the movies since the general retreat from the streets to the studio in the late 1910s. Italian audiences knew better, if only because they could recognize the popular comedian Aldo Fabrizi playing the priest who aids the Communist underground forces, and the music-hall star Anna Magnani, who plays Pina, the pregnant widow and the embodiment of Roman grit caught up in the conflict. It is difficult to underestimate the effect “Rome Open City” had when it arrived in 1946 in New York, where it struck initial audiences with the impact of a documentary. Using bits of scrounged film stock, a studio improvised on the ground floor of a bordello and electricity diverted from the nearby offices of Stars and Stripes, the United States military’s newspaper, Rossellini and his colleagues pieced together a story of the Italian resistance under the Nazi occupation. Although his first three films all propaganda features made with the support of the Fascist regime find Rossellini experimenting with location shooting and nonprofessional actors, his manner doesn’t really emerge until “Rome Open City,” filmed in the chaos and desperation of a Rome recently liberated by Allied forces. Criterion CollectionĪt the beginning he may have had little choice. Johnson, near right, and Alfonso Bovino in Roberto Rossellini’s “Paisan”. All we’ve had are ugly dupes, made from damaged, dirty prints many generations removed from the original negatives, and in the case of “Germany Year Zero,” with the actors dubbed into a language not their own.ĭotts M.
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Yet for decades now it’s been impossible to see Rossellini’s War Trilogy, as the films have come to be called, in any kind of decent condition. Whenever we see a film by François Truffaut (“The 400 Blows” was directly inspired by “Germany Year Zero”), John Cassavetes or Mike Leigh, we are in some sense experiencing Rossellini’s vision, his determination to cast aside refinements of form and style and penetrate to the heart of his human material, captured on the fly with all of its rawness and complexity intact.
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It’s almost impossible to underestimate the importance of these movies, both for the impact that their startling realism had on the audiences and filmmakers of the time and for the influence they continue to exert on directors.Īndrea Arnold’s current “Fish Tank” is only the latest example of work that continues to draw on Rossellini’s open, observational approach, which mixed location filming with studio sets, professional actors with amateurs asked to play variations on themselves, and screenplays that were not set in stone, Hollywood style, but roughed out in advance and improvised on the spot. IN the immediate aftermath of World War II, Roberto Rossellini made three films that helped to lay the foundations of modern cinema: “Rome Open City” (1945), “Paisan” (1946) and “Germany Year Zero” (1948).