86/100 (İlk izlediğimde puanım 91 gibi çok yüksek bir seviyedeydi. Tekrar dikkatlice izleyince puanım biraz düştü. Düşme nedenlerimin en önemlileri ; Filmin başında gereksizce belirtilen kurgu olduğu vurgusu, direniş hareketine rahibi çok fazla katması, ispiyonlama olayının inandırıcı olmaması denebilir. Eleştiriler fazla gibi duruyor ama bunların dışında işlenen faşistlik karşıtlığı ve geri kalan her şey kusursuz..)
This one just floors you. I am not understanding some comments I have read about some parts being cliche and it being too structured. This is every bit as essential as Bicycle Thief or Umberto D or any other Italian neorealism masterpiece. All the performances are top notch, and the ending is one of the most depressing I have seen in years. 5 easy stars, a must see for fans of classic world cinema.
3-4. I don't know how 'real' I'd say this feels with regards to committing to depicting the mundane details of life above all else, but it is a powerful war film with a romantic heart. It's easy to believe in dying for an idea the way this film carries it across: through noble, believably human characters. That the soundtrack is quiet means the film never becomes overbearingly emotional, either. It holds up well.
clearly not a fan of fascism or indulgence, Rossellini brings us (in spite of his brothers silly score) a remarkable piece of work. shots working within tight places suffocate us, direct juxtaposition of a torture room vs. a room of indulgence illuminate the poverty of the occupied vs the opulent nature of the occupier, rugged manfredi vs nancy major. This is greatness of belief vs a philosophical poverty.
A historical & fictional space--the Nazi headquarters--rendered cinematically by way of three separate locations unrealistically placed next to one another: the central office, the expressionist torture room, & the cultural lounge where music is heard & card games are played. Rossellini generates a profound sense of movement between these spaces to show the mutual non-exclusiveness of their purposes. This is horror.
I grew up with Fabrizi as a comical character: Don Pietro turned me upside down. Anna Magnani was born for being such a sharp-cornered character, yet she was the never ending image of gentleness. You know from the beginning how the story is going to turn, but still its strikingness lurks behind every single shadowy frame.
Italian neo-realism is not my cup of tea as I've mentioned before. I think it's pretentious and has as much to do with realism as film noir or Sovjet cinema. Rome, Open City I could manage to watch which is an achievement in itself. The plot is ephemeral but the mode of production should be applauded.
Stark is how I would describe this. Stark and emotionally uncompromising. It doesn't pull its punches and it's more shocking instances don't feel dated, and still feel as much like a blow as I'm sure they did more than half a century ago. That being said the overall film isn't as fresh and revelatory as it was back then, and it ends up being to me very good, but not great.