4.5 - still really thinking about this. rossellini blending hollywood and his particular brand of neorealism constantly placing devices at odds. bergman the actress and karin the character melded to be allegorically and physically out of place. the fishing scene really bringing home this fact with near documentary style filming and bergman being splashed by tuna being slaughtered.
Me fascina lo que representa Bergman para la película, no solo por lo que interpreta, sino también como actriz. Ambas figuras desencajan tanto en la realidad como en la ficción. Ninguna conoce del lugar, domina el idioma. La presencia de la mujer es un contraste. Nunca se le ha visto tan grande y tosca. Aquí ella es la exótica. ¿Qué la hace encajar? Lo intempestivo, su vulnerabilidad, su furia. Ella es un volcán.
Great work! Ingrid Bergman having an affair with Rossellini in a foreign country away from USA (and which kept her away for a while) and the movie which focuses on alienation of a woman in a remote island has some common points to me! Love makes us to move from one place to another. There comes a question? If you leave your own homeland for someone, can you still be you and happy? How easy is it?
Karin's tragedy is not delivered in one powerful punch like Pina's, but her walk up to an earthly hell is perhaps a more powerful representation of our struggle against the world. Karin is not killed directly by her fellow humans, but it's by her relations with them (in her native country, in the camp, and in the island) that she's driven to inflict the tragedy on herself. As beautiful as they come from Rossellini.
2 stars for the truly magnificent fishing scenes and the volcano scenes. Otherwise, a trite and sometimes even painfully idiotic film. There are a couple of laugh-out-loud stupid moments, so if you are a friendly cynic like I, you may chuckle mockingly (but you may also dislodge your eyeballs from their sockets if you are more prone to eye-rolling). The dialogue is quite terrible the characters are empty caricatures.
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.