Roberto Rossellini's War Trilogy

DVD FEATURES:

• Region: 1
• Number of Discs: 3
• Aspect Ratio: 1.33:1 (Pre-1954 Standard)
• Audio: Dolby Digital Mono
• Encoding: NTSC
• Screen: Black and White
• Subtitle: English

AWARDS

• Academy of Motion Picture Arts and Sciences

• Nominated Best Story and Screenplay - 1949 (Alfred Hayes, Sergio Amidei, Roberto Rossellini, Federico Fellini, Marcello Pagliero)
• Nominated Best Screenplay - 1946 (Sergio Amidei, Federico Fellini)

• British Academy of Film and Television Arts

• Nominated Best Film - Any Source - 1948 (Roberto Rossellini)

• Cannes Film Festival

• Won Grand Prix - 1946

• National Board of Review

• Won Best Director - 1948 (Roberto Rossellini)
• Won Best Picture - 1948
• Won Best Actress - 1946 (Anna Magnani)
• Won Best Foreign Film - 1946
• Nominated Best Picture - 1949

• New York Film Critics Circle

• Won Best Foreign Film - 1948
• Won Best Foreign Film - 1946

• Venice International Film Festival

• Won ANICA Cup - 1946 (Roberto Rossellini)

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REVIEWS:

• The first masterpiece of the post-war era, Roma, citta aperta is a cinematic landmark that heralded the rise of Italian Neorealism and influenced much of cinematic history to come, from the French New Wave to cinéma vérité and Direct Cinema to Third Cinema. Like The Cabinet of Caligari (1919), Open City is a masterwork born out of deprivation. The Nazis had vacated the city a mere two months before director Roberto Rossellini commenced shooting; only grainy low-grade stock was available; and most of Rome's studios were bombed out from the war. In most cases, any of these factors would have doomed the production, yet Rosselini brilliantly managed to take seeming liabilities and adapt them into a gritty re-definition of cinematic realism. He took the film out into the street and cast non-actors in central roles, giving the film immediacy and authenticity. In a tactic that would later be a model for much of Italian cinema, he shot Open City without sound, allowing his camera crews greater mobility. Moreover, he infused the film with a humanism that would be a signature of Rosselini's career and would mark much of immediate post-war film, from Vittorio De Sica's Ladri di biciclette to Akira Kurosawa's Ikiru. Roma, citta aperta is a harrowing, emotionally powerful film that changed the face of cinema. ~ Jonathan Crow, All Movie Guide
• Before beginning to shoot on a shoestring budget in March of 1947, the director described his experience of the desolate city. "The city was deserted. The gray of the sky flowed back into the streets and from the height of a man, one could look over the fallen roofs. To find the streets again under the ruins, people had cleared the rubble away, into piles." Employing, as usual, non-professional actors to achieve a greater objectivity, the director nonetheless shapes a drama of chilling power from the simplest of materials. Despite the ubiquity of the sobering spectacle of devastation, in the quiet scene of Herr Enning playing a Hitler speech to the attentive boy, Rossellini suggests the damage which had been done to an entire generation through the relentless brainwashing of fascism. By making Edmund neither especially sympathetic nor heroic, the director heightens one's identification, making the final subjective, almost hallucinatory tracking shot almost unbearable in its intensity. ~ Michael Costello, All Movie Guide

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