Custom image of Aldo Fabrizi as Don Pietro Pellegrini in Rome, Open City
With its bold new approach, Italian Neorealism redefined the possibilities of cinema, captivating audiences with its gritty realism and social relevance. Thriving between 1943 and 1954, this new way resulted in films that held a mirror to society by realistically portraying the struggles of everyday people in the aftermath of war. Neorealist films portrayed raw, gritty stories of the human condition.
Giorgio Manfredi , a communist resistant leader, is wanted by the secret police of the Nazis. The film follows Giorgio Manfredi's desperate attempts to evade capture and the dramatic consequences for those caught in his orbit. These include his fellow communist Francesco , Francesco's pregnant fiancée Pina , and the courageous priest Don Pietro , along with other ordinary citizens. Notable among the citizens are young boys, including Pina's pre-teen son Marcello .
Rome, Open City's realism is enhanced by the fact that the characters in the film are also inspired by real-life figures. Don Pietro, for instance, is based on two partisan Catholic priests, Don Giuseppe Morosini and Don Pietro Pappagallo, who were executed for helping the resistance. Coming on the heels of World War II, Rossellini also faced significant production challenges. As a result of the war, filming resources were scarce, and Rossellini struggled to raise the film's budget.
More than a cinematic masterpiece, Rome, Open City set the stage for films that used cinema as a tool for socio-political commentary. It was among the earliest films to unflinchingly portray fascism and its resistance, which became a model for films about political justice across the world. Earlier Italian films about the war had mostly been about the injustices of the Allied forces. Rome, Open City opened the can to criticize the"enemy within".
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