Continuing on with my recent Italian film obsession, especially within the genre of Italian neorealism in which the poverty-stricken side of its citizens was portrayed beautifully, showing the hardships of the country's lower-class families and individuals in a time of constant industrial growth, fragile politics, and disconnect between faith and reality -- particularly where religion was so present yet empathy for those around was not.
Rome, Open City is a film that I had seen clips of in the past, yet I had no idea what the film was or gave it much interest in terms of seeking out additional information on it. It came to no surprise that, from its general era of release, it is a film that reflects on the troubled times just passing, with a new era now starting; though void of optimism and still scarred from the events. It is through film that we heal and address such issues, however. To reflect and come together as one and learn, feel, and grieve. This film is a bit of everything. One that was created at the right time, and the right place.
It is a film that dared to do something against the current ruling, to show defiance against a group of people that came to restrict freedom and enforce rules upon an unwanting society. Something rather relatable in regards to today's events.
Rome, Open City
Within occupied territory you will always find those who refuse to obide by the new rulers. Those who remain defiant and hold an intent to fight back, serving as a resistance that lurks both within the dark and within plain sight. Those who act in multiple ways to encourage and lead a movement that maintains the prior way of life; this is nothing that we wouldn't expect. Something far from surprising. But Rome, Open City takes into consideration the people part of such an attempt at a revolution. Where, of course, those most affected by occupation and the hardships of a changing society are often those with little to lose other than their own lives. The poor. The already beaten-down.
In Rome, Open City, one of our contributors to this movement is a priest. A religious man attempting to do good. We see the ways in which this man, conflicted, strives to neither lie nor put others into danger through his actions. A man that believes he's truly doing what is right against the Nazi occupation. I really enjoyed this character in particular, being a man of God that takes matters into his own hands, fully aware of his own life being in danger. Understanding that going the extra mile and acting, rather than giving in and accepting recent events as the people around him suffer, is what is best.
I don't wish to dive too deep into Rome, Open City's narrative nor do I wish to dive too deep into its politics, of which there are plenty of as you'd expect. I sincerely hope people read this and watch it to discover it all themselves!
Moving on from a brief bit of context, I found Rome, Open City to be a beautifully crafted film. One that went through insane struggles to get created in such a time, and still capable of pushing their creativity to the max. Utilising the small aspect ratio of old film stock and camera technology to squeeze so many events and characters into a small frame. Using a rather open depth-of-field to ensure that the background is visible. This allowed for us to really see the other characters, even if they had no importance to us in the narrative. From here, it allowed us to see the people, the ordinary citizens struggling and living with poverty under occupation. Where, of course, they can't rise up or fight back, they cannot speak up without fear of being hurt or killed.
We see this small box that reveals a world of suffering, but also one of hope through a movement. One where under all the chaos and struggles is the will of ordinary people willing to fight back. Displaying the nature of humans both good and evil, as even those who have nothing are willing to give all to free themselves and others just for an ounce of extra freedom.
It is incredibly human for this matter. Our resistance are not superhero individuals, of course. They are the ordinary men, women, and even priests that we call neighbours and friends. The ones we would refer to as peasants, lower-class failures within society. The people that we otherwise wouldn't look twice at. It shows the will of the people.
Part of my enjoyment of Rome, Open City stems from its production and release date of 1945. Released within the very month of World War 2's ending. To shoot something as sensitive as this and release it at such a time is a case of sheer rebellion towards those who had taken such a firm grip on its people during occupation, where the suffering was still ripe and the wounds fresh. I have read that the film didn't really do all that well within Italy due to its citizens wanting to rid themselves of the horrors and fears experienced, and of course cinema is a perfect place for a distraction, something to ease the mind and take away your attention for a while. Though, defiant, Roberto Rossellini and many other filmmakers were ready to pursue art, to reflect on the experiences and tell a story surrounding them.
Not just considering the dangers of shooting during occupation and a release within the month of World War 2 ending, this was also a troubled time for art in which censorship was running rampant around the world, even present within the Allied countries where such themes were of course very delicate to ensure citizens had only so much exposure to them, as a way to maintain morale and approval. That is to admit that propaganda was present in all corners of the world, and art of course was punished to the highest degree. Strangled into submission.
Though for Italy, it was a time of contributing to the fast developing changes of the world as the Nazis were not only losing strength, but actively being defeated and repelled. To put their own political situations aside and join the forces of the Allied nations in showing Nazi occupation as a negative, something that was escaped and certainly a dark time for its people. Of which many are present within the film, having been featured as non-professional actors as is the case in many of Italy's neorealism genre.