This review was originally published on Pol Culture.
This 1945 Italian melodrama, about the World War II underground resistance in Rome, is as pulpy as the gaudiest Hollywood thriller. The director, Roberto Rossellini, shot it in strictly-from-hunger circumstances. The lighting is variable, several of the actors are non-professionals, and since there was no money for sets, the action had to be staged in actual streets, buildings, and apartments. The documentary-like atmosphere Rossellini captured--the style was dubbed Neo-Realism--became a hallmark of the existentialist aesthetic and revolutionized the art of film. Rome, Open City has a fair claim to being the single most influential movie made after World War II. It's such an important part of cinema history that one may feel reluctant to approach it as an entertainment. But the picture is entertaining. The gritty detail and sense of immediacy largely redeem the hackneyed contrivances of the plot, which includes resistance fighters on the run from the Nazis, a priest playing a central role in the intrigues, and a resistance hero being betrayed by his lover. If the film were more slickly made, it would seem laughably trashy. Some elements, such as the seductively chic lesbian Gestapo agent, may have one chuckling regardless. Others, like the scene in which a pregnant woman is shot to death in the street, prompt conflicting reactions. One may think this particular moment devastatingly powerful or offensively over the top, or perhaps both. Sergio Amidei is credited with the script. (Federico Fellini contributed some dialogue and other small bits.) The large cast includes Anna Magnani as the ill-fated expecting mother, Aldo Fabrizi as the stealthy priest, and Maria Michi as the treacherous paramour. Renzo Rossellini provided the cheesy thriller-style score.