Sergio Amidei Movies

Roberto Rossellini's Roma, Città Aperta (known in English as Open City) was one of the landmark films of the 1940s on several levels. Aesthetically, it was one of the first major works of Italian neorealist filmmaking and perhaps the single most influential example of the style. Historically, it was among the first postwar European films to gain a significant audience in the United States, opening the door for a greater appreciation of international filmmaking in America. And politically, it was a work of tremendous bravery. The screenplay was written by Roberto Rossellini in association with Federico Fellini and Sergio Amidei while Rome was still occupied by German forces in 1943-44. Rossellini began filming in secret, using scavenged film stock without sound equipment, shortly before the city was liberated in June of 1944. Several key members of his creative team had been active in the Italian resistance movement. With its rough, documentary-style look, multi-layered narrative, and a cast that mixed amateurs with actors who didn't look like film stars, Roma, Città Aperta captured the harsh and unforgiving textures of real life as few movies of its time had dared. It set the pace for Italian Neorealism as an influential postwar film style that combined outdoor light and location shooting with non-actors, a focus on simple stories of everyday life, and a concern for the poor and for social problems. Roma, Città Aperta shows the lives of a group of people living in Rome during the Nazi occupation, after the Germans had declared it an "open city." Anna Magnani plays a woman in love with a member of a resistance group; in helping him, she risks not only her own life, but also that of her unborn child. Aldo Fabrizi plays a priest who aids the anti-Nazi cause and pays dearly for his activism. Marcello Pagliero is an outspoken communist who runs afoul of the Nazis. And Harry Feist plays a German officer who has taken an Italian lover, but whose affection for Romans does not run especially deep. While Roma, Città Aperta shows flashes of the melodramatic sentimentality that would mark much of Rossellini's later work, it still rings true as a chronicle of a city under siege and as the genesis of a powerful new film style whose influences include such later filmmakers, among many others, as John Cassavetes, Martin Scorsese, Robert Altman, and Spike Lee. ~ Mark Deming, All Movie Guide

Filmed in Italy in 1948 as Sotte il Sole de Roma, this Renato Castellani-directed effort reached American screens the following year through the good graces of United Artists. Adhering to the then-fashionable "neorealist" school, the film is gritty and uncompromising for the most part, though it manages to exude a sense of optimism by film's end. Told in episodic fashion, the story concentrates on the various ramifications of Italy's post-fascist reconstruction, as seen through the eyes of an orphan (Oscar Blando) who comes of age during WW II. Some of the best scenes concern the boy's tempestuous courtship of his long-suffering girlfriend (Liliana Mancini). Dismissed as "mediocre" in the American trade paper Variety, Under the Sun of Rome nevertheless won the "Best Italian Film" award at the 1948 Venice Film Festival. ~ Hal Erickson, All Movie Guide

This docu-drama offers glimpses from the lives of people enjoying a carefree Sunday afternoon upon a sunny Roman beach and features the film debut of Marcello Mastroianni. ~ Sandra Brennan, All Movie Guide

The title of this Italian melodrama translates to Pact with the Devil. However, His Satanic Majesty does not appear in the film. Rather, this expensively produced period piece is more along the lines of Romeo and Juliet, with young love threatened by warring families. In his first Italian film, Hollywood veteran Eduardo Cianelli goes through his usual villainous paces as the scheming father of the male lead (Jacques Francois). The most fascinating performance is rendered by Umberto Spadaro, as the village idiot, or is he? Patto col Diavolo makes the most of the visual dynamics of Italy's mountainous Calabrian region.
~ Hal Erickson, All Movie Guide

Italian neo-realist pioneer Roberto Rossellini made his first (and, as it turned out, last) Hollywood-backed film with Stromboli. Karin (Ingrid Bergman) is a war refugee from Lithuania who has been placed in an internment camp. Desperate to get out and with few options, she accepts a proposal of marriage from Antonio (Mario Vitale), a fisherman who lives on the island of Stromboli. However, Karin soon finds that life on the island is only a minor improvement over the prison camp; she's an outsider there and doesn't fit in with the locals. Karin's discomfort turns to terror when the island's volcano threatens to erupt. Stromboli became infamous in its time when word got out that Bergman was having an affair with Rossellini; Bergman would eventually leave her husband and marry Rossellini, but the scandal all but killed this film at the box office. Rossellini's battles with producer Howard Hughes hardly helped: while Rossellini's cut of the film was eventually released on tape in the United States, on initial release Hughes had Alfred Werker cut it from 117 minutes to 81 minutes and add a new ending. ~ Mark Deming, All Movie Guide

Pictura is a feature-length collection of several short-subject documentary celebrations of great artists and their work. The film consists of six separate "episodes," many of these representing a collaboration between Luciano Emmer and another director. "The Lost Paradise," co-directed by Enrico Gras and narrated by Vincent Price, spotlights Hieronymous Bosch. "The Legend of St. Ursula," narrated by Gregory Peck, showcases Vittorio Carpaccio. "Francisco Goya" was co-directed by Lauro Ventura and narrated by Henry Marble. "Henri de Toulouse-Lautrec" is narrated by Lilli Palmer. The final two sections of Pictura were directed by someone other than Luciano Emmer: "Paul Gaugin" was directed by Alain Resnais and narrated by Martin Gabel, while "Grant Wood," the only American documentary in the batch, was directed by Mark Sorkin, with narration by Henry Fonda. ~ Hal Erickson, All Movie Guide

Ragazze di Piazza di Spagna is better known by its English-language title Three Little Girls from Rome. The girls in question are Marisa, Elena and Lucia, played respectively by Lucia Bose, Cosetta Greco and Liliana Bonfatti. All three work in a fancy Roman house of fashion, and all three have aspirations beyond the confines of their current work. Eventually Marisa becomes a top fashion model, but at the expense of her personal happiness. Elena has her heart broken by her bookkeeper boyfriend. And Lucia flits from romance to romance, eventually "landing" on a race-horse jockey. There's more to the story than this, of course, but to reveal more would spoil the viewer's enjoyment. ~ Hal Erickson, All Movie Guide

This film is comprised of three vignettes focusing upon women and war. The first episode, set in WW II, chronicles the sad journey of an American woman who goes to Italy to bring her husband's body home. In Italy she makes a heart-wrenching discovery: he had been living with an Italian family and had impregnated their daughter and sees the child. The second story chronicles the abandonment of Joan of Arc, by her king and her soldiers. The third episode is a humorous adaptation of "Lysistrata," the Greek play where Athenian wives refused to sleep with their husbands until they stopped making war. ~ Sandra Brennan, All Movie Guide

Roberto Rossellini directs his then-wife Ingrid Bergman in the suspenseful drama La Paura (Fear), based on the book by Stefan Zweig. Guilt-stricken Irene Wagner (Bergman) is forced to hide her secret affair with Erich Baumann (Kurt Kreuger) from her husband, Professor Albert Wagner (Mathias Wieman), a scientist in the midst of a serious breakthrough. However, Erich's ex-girlfriend, Joanne (Renate Mannhardt), finds out and threatens blackmail. This throws Irene into a fit of homicidal and suicidal rage. La Paura is an atypical entry in the Bergman-Rossellini film canon because of its German expressionist style and psychological plot twists. ~ Andrea LeVasseur, All Movie Guide

With a deft guiding hand, director Roberto Rossellini brings out the depths in this study of a man's transformation during the German occupation of Milan. Based on a novel by Indro Montanelli, the story is true. Colonel Mueller (Hannes Messemer) and his cohorts have decided to plant a spy in the Milan prison. They choose a petty thief from the streets who earns his living plying the black-market trade and assign him to the task. He is thrown in jail under the false identity of General della Rovere (Vittorio De Sica) in order to bring the Italian resistance fighters among the prisoners, out into the open. As the fake general slowly makes friends with these men, he becomes a leader of sorts, and this transformation gets him thinking in a different way about himself. This well-wrought drama was given the "Best Foreign Film" award in 1960 by the New York Film Critics, and it won the Golden Lion at the 1959 Venice Film Festival. ~ Eleanor Mannikka, All Movie Guide

A stellar international cast compensates somewhat for the rambling plotlessness of The Girl Game. The film takes place during Carnival Time in Rio De Janeiro. As unconfined joy wafts its way through the streets, the lives of several fabulously wealthy visitors and a group of voluptuous stewardesses intersect, sometimes with startling results. Sylvia Koscina and Mylene Demongeot are among the visual delights of this garish romp. Originally released at 125 minutes, The Girl Game (also known as Copacabana Palace and The Saga of the Flying Hostesses) was pared down to 90 minutes for its play-off dates. ~ Hal Erickson, All Movie Guide