Karen, a young woman from the Baltic countries, marries fisherman Antonio to escape from a prisoners camp. But the life in Antonio’s village, Stromboli, threatened by the volcano, is a tough one and Karen cannot get used to it. –IMDb
Rossellini was one of the directors of the Italian neorealist cinema, contributing films such as Roma città aperta (Rome, Open City 1945) to the movement.
In 1937, Rossellini made his first documentary, Prélude à l’après-midi d’un faune. After this essay, he was called to assist Goffredo Alessandrini in making Luciano Serra pilota, one of the most successful Italian films of the first half of the 20th century. In 1940 he was called to assist Francesco De Robertis on Uomini sul Fondo.His close friendship with Vittorio Mussolini, son of Il Duce, has been interpreted as a possible reason for having been preferred to other apprentices.
Some authors describe the first part of his career as a sequence of trilogies. His first feature film, La nave bianca (1942) was sponsored by the audiovisual propaganda centre of Navy Department and is the first work in Rossellini’s “Fascist Trilogy”, together with Un pilota ritorna (1942) and Uomo dalla Croce (1943). To this period belongs… read more
I might be wrong but I found Stromboli one of the most compelling neorealism examples that are quite forgotten. It has a strong sociological point of view that enhances the realism stereotype, however Stromboli also has a curious and overwhelming perspective centered on religion and faith, reminding in a way the final of Bergman's The Virgin Spring. The narrative focus on a woman is great as well.
Rossellini applies a fascinating approach towards protagonist sympathy, identification and engagement, wherein the minimal visual establishment of Karen's upperclass and first-world environment becomes an assumption of the film's audience. Thus, Karen's final atonement hinges upon upper class shame, and yet closes the abyme inherent in realist engagement.
A woman changes one prison for another when she leaves a post war internment camp for marriage with a young fisherman who takes her to the volcanic island Stromboli. Rossellini's film is more infamous for its inclandestine relationship between director and star than its subject matter. In the end it is a fine film with a great Bergman performance that is marred by an unbeliebable ending that leaves a bad taste.
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If I was playing a game of word associations and someone brought up Stromboli, the first word that would come to mind after seeing the film is simply ‘cosmic’. In fact I’m tempted just to leave it… read review