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Rome, Open City
Directed by
Roberto Rossellini
Not Rated
1946
1h 44m
Drama
,
Thriller
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and more
8.0
100%
92%
8.0
Add to Watchlist
During the Nazi occupation of Rome in 1944, the Resistance leader, Giorgio Manfredi, is chased by the Nazis as he seeks refuge and a way to escape.
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Where to Watch Rome, Open City
Criterion Channel
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Cast of Rome, Open City
Aldo Fabrizi
Don Pietro Pellegrini
Marcello Pagliero
Giorgio Manfredi aka Luigi Ferraris
Harry Feist
Major Fritz Bergmann
Anna Magnani
Pina
Maria Michi
Marina Mari
Francesco Grandjacquet
Francesco
Vito Annichiarico
Marcello
Ákos Tolnay
Austrian Deserter
Joop van Hulzen
Captain Hartmann
Carla Rovere
Lauretta
Giovanna Galletti
Ingrid
Nando Bruno
Agostino the Sexton
Eduardo Passarelli
Neighborhood Police Sergeant
Carlo Sindici
Police Commissioner
Turi Pandolfini
Grandfather (uncredited)
Amalia Pellegrini
Nannina (uncredited)
Alberto Tavazzi
The Priest (uncredited)
Roberto Rossellini
Director / Screenplay / Producer
Federico Fellini
Screenplay / Assistant Director
Giuseppe Amato
Producer
Rome, Open City Ratings & Reviews
The New Yorker
Richard Brody
Handheld cameras tremble with the urgency of open wounds and violent emotion in Roberto Rossellini's 1945 drama of the Italian resistance to the capital's occupation by Nazi Germany.
Los Angeles Times
Kenneth Turan
A world cinema landmark, but that dusty, respectful word does not do justice to a film that has not lost its power to surprise and even shock.
Chicago Tribune
Michael Phillips
Today it doesn't feel like a documentary at all. It's a street opera, caught on camera during wartime, a story performed by a mixed cast of amazing professionals and earnest non-professionals.
Slant Magazine
Oleg Ivanov
Roberto Rossellini's film owes part of its emotional power to its mixture of politico-religious symbolism and quotidian humor.
TV Guide
An innovative fusion of documentary and melodrama.
CinePassion
Fernando F. Croce
A galvanic document of human and filmic regeneration
Variety
Variety Staff
This much of the film is standard hero and villain stuff. But what makes picture good is the story of other characters involved in the tragedy.
Q Network Film Desk
James Kendrick
its rough, newsreel-like aesthetic gives the story's undeniably melodramatic tensions and clear-cut depictions of good and evil a sense of gritty reality and true gravity
Movie Metropolis
Christopher Long
(T)hese moments are so powerful that its easy to understand the effusive rhetoric the film has inspired.
Mountain Xpress (Asheville, NC)
Ken Hanke
The true "realism" comes from within the film and from the sense of artists banded together to make something because they had something to say.
EmanuelLevy.Com
Emanuel Levy
Announcing the arrival of a new, revolutionary paradigm, Italian neorealism, Rossellini's masterpiece shows the tension between his realistic docu-style and use of some melodramatic devices, but flaws are overcome by unified vision and political fervor
Arizona Daily Star
Phil Villarreal
Tthe lasting impact of Rossellini's work is incalculable.
Decent Films
Steven D. Greydanus
Stunned audiences the world over recognized in it an unmediated authenticity more evocative of the documentary quality of wartime newsreels than of conventional WWII dramas.
New York Times
Bosley Crowther
The total effect of the picture is a sense of real experience, achieved as much by the performance as by the writing and direction.
Austin Chronicle
Marjorie Baumgarten
This eternal classic is always a welcome sight.
Chicago Tribune
Michael Wilmington
Remains a film of electric drama and high emotion, as well as a major turning point in film history.
Chicago Reader
Don Druker
Its realistic treatment of everyday Italian life heralded the postwar renaissance of the Italian cinema and the development of neorealism; the film astonished audiences around the world and remains a masterpiece.
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Roma, Citta Aperta: Doesn't Christ See Us? (US)
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