CINEMABSOLUTE

----------Warning: This article may contain spoilers!

Italian Neorealism was a national film movement focusing mostly on the stories of the poor and working class, in general everyday people back that time. These films, often shot on location with non-professional actors, vividly portrayed the harsh economic and moral conditions of post-World War II Italy and Europe. They reflected the changes in social psychology and the daily struggles of life, highlighting poverty, oppression, injustice, and despair. One of the most influential figures of this movement was Roberto Rossellini, whose anti-fascist outcome shaped his powerful post-war cinema. Rossellini is often credited as a founding force of Neorealism, alongside other notable directors such as Vittorio De Sica, whose most famous film "Ladri di Biciclette (Bicycle Thieves)” is considered a masterpiece of the genre. His works were so influential that it even inspired the French New Wave, cementing his place as a cinematic pioneer.

Rossellini, who lived from 1906 to 1977, was also known for his personal life. He was married to the legendary actress Ingrid Bergman, with whom he had a daughter, Isabella Rossellini. Together with Bergman, Rossellini made three films that many consider to have initiated modern cinema, contrasting sharply with the themes of Neorealism and rejecting its popularity at the time. More interestingly, early in his career, Rossellini made films for the fascist Italian regime, showcasing his pragmatic nature without detracting from his talent. As of the first decades of the 21st century, numerous films about World War II have been made so far, but Roberto Rossellini's War Trilogy holds a special place as a pioneering work. The trilogy, which is currently available as restored for modern audiences, also includes significant contributions from Federico Fellini as a screenwriter for the first two films. This collaboration not only brought Fellini to the forefront of world cinema but also enriched the Neorealist movement. Let's take a closer look at the films that make up this influential trilogy, which remain accessible and relevant even today.

The first film in the trilogy, Rome, Open City (Roma città aperta), released in 1945, is a spiritual exploration of the Italian Resistance during World War II. The story centers around the resistance leader Giorgio Manfredi (an alias for Luigi Ferraris, his actual name) and his close companions, as well as the German and Italian soldiers pursuing him on the fascist Italian side. The film generally distributes its protagonism across several characters, creating a rich, multi-faceted narrative: Giorgio, a symbol of hope for many, is hiding in Rome, evading capture by the soldiers. His primary supporters include fellow resistance member Francesco, Francesco’s fiancée Pina, and one of the most unforgettable characters of this very cinema: the Catholic priest Don Pietro. The film primarily focuses on these characters, depicting their efforts to change the course of events behind the scenes of the resistance. Despite Rome being declared an open city, the film portrays it as being under occupation, highlighting the contrast between daily life and the clandestine activities of the resistance.

Giorgio’s personal life plays a crucial role in the story. His lover Marina, who is initially among those he seeks support from, ultimately betrays him. Marina, manipulated by the Nazis into becoming a drug addict and drawn to luxury items, finds herself on a fragile line between love and hate. Her dependency and the lack of a strong foundation in her relationship with Giorgio lead her to betray him with unsettling ease, resulting in his capture. Midway through the film, also Francesco loses his pregnant fiancée Pina to a soldier’s bullet and during the ambush that captures Giorgio, Francesco narrowly escapes. Another key character, Don Pietro, is arrested and later executed for his unwavering support of the resistance. "Rome, Open City" captures the harrowing reality of resistance efforts and the personal sacrifices involved. It weaves together the destinies of its characters against the backdrop of a city struggling under the weight of occupation and war.

"Rome, Open City" received numerous awards and nominations, including the Grand Prize (Grand Prix du Festival International du Film, which later became the Palme d’Or) at the Cannes Film Festival. It was also nominated for the Best Adapted Screenplay Oscar at the Academy Awards. This film brought international recognition to director Roberto Rossellini, screenwriter Federico Fellini, and actress Anna Magnani. It marked a breakthrough for both Rossellini and Italian cinema, establishing a global presence. Set during the German occupation in Italy, the film is also notable for its portrayal of the common people's struggles. These elements contribute to the film's raw, realistic spirit and emotional impact, making it a revolutionary work and a landmark of the Neorealist movement.

The casting is, in general, remarkable, particularly Aldo Fabrizi as Don Pietro, one of the few professional actors in the film. His execution scene, accompanied by the whistling of children, is one of the most moving in cinema history, leaving audiences in tears. Another iconic moment is when the pregnant Pina, portrayed by Anna Magnani, is killed while running after her fiancé Francesco, who is being taken away by soldiers. Magnani's performance is second only to Fabrizi's. Another memorable scene involves a conversation between Nazi officers, where a superior officer, while drinking, tells a subordinate that they built their country on death and that everyone hates them. This candid depiction of the Nazis was quite daring for its time. The interrogation scenes leave a lasting impression as well, featuring detailed, though not overly graphic, depictions of torture. Overall, "Rome, Open City" stands as a stimulating film that not only captures the harsh realities of its time but also leaves an indelible mark on cinema history through its powerful performances and bold storytelling.

The second film in the trilogy, Paisan (Paisà), released in 1946, unfolds through six episodes, each depicting stories and memories spread across the nation during the period of occupation and liberation of Italy. It is a poignant anthology that captures the diverse and complex experiences of individuals during Italy's turbulent times, showcasing the profound effects of war on both soldiers and civilians:

• In the first episode, a group of American soldiers collaborate with a local girl to navigate their way through enemy lines in the Sicilian countryside, only to face a tragic end. 

• The second episode portrays an American soldier who befriends a street child in Naples and discovers the harsh living conditions the child endures while tracking down a theft. 

• The third episode focuses on an American soldier and an Italian prostitute who spend a night together in post-war Rome. It is revealed that they share a romantic yet heartbreaking past, though the awareness of this history emerges one-sidedly due to the war's impacts. 

• The fourth episode is set in Florence, where American nurse Harriet, with the help of a partisan, attempts to cross from the safe side of the partially liberated city to the embattled side to see "Lupo," a partisan leader she knew before the war. 

• In the fifth episode, three American military chaplains are hosted at a monastery west of Rimini. The monks fast in hopes of converting two of the chaplains to Catholicism, while the Catholic one among those three finds peace after the war's hardships. 

• The sixth and final episode takes place just before the war ends, focusing on members of the OSS (Office of Strategic Services), collaborating with Italian partisans, and rescuing two British paratroopers in the Po Delta. However, they also face capture later by the Germans.

Each episode of "Paisan" begins with footage that imparts a documentary feel, making the viewing experience both fragmented and quite easily digestible. This structure presents simple yet emotionally and intellectually rich stories, grounded in reality and imbued with historical significance. Unlike the first film in the trilogy, "Paisan" prominently features contrasts and tendencies to unite among different nationalities and even religions. This gives the film a distinct character within the series. Although set on Italian soil, the American liberators often serve as the main protagonists, highlighting the international dimension of the story. One of the most moving episodes is the third, where the war’s trauma makes individuals who once connected deeply become unrecognizable to each other in a matter of months. This poignant depiction of war’s dehumanizing effects stands out as particularly moving. An impressive aspect of the film is its multilingual approach. Actors playing soldiers from various nations speak their native languages, a feat that adds to the film’s authenticity. Even today, films that tell multinational stories often find multilingualism challenging. Achieving this in the 1940s, seamlessly integrating it into the narrative, is a testament to the film’s exceptional attention to detail and realism. This effort deserves special recognition and enhances the film’s historical and cultural value.

The third and final film of the trilogy, Germany, Year Zero (Germania anno zero), released in 1948, tells the harrowing story of 12-year-old Edmund Köhler and stark portrayal of post-war Germany, combined with the raw performance of its young protagonist, makes it a powerful and heartbreaking conclusion to Rossellini's trilogy.  Living in the ruins of post-war Berlin with his family, Edmund faces dire conditions. His father is seriously ill and unable to work, while his brother Karl-Heinz, a former Nazi soldier, must stay hidden to avoid persecution and therefore cannot work or even leave the house, and his sister Eva is on the brink of resorting to prostitution at night to make ends meet. While searching for work on the streets, Edmund encounters his former teacher, Mr. Henning, who still adheres to Nazi ideology and convinces Edmund that he should kill his father to relieve the family's burden, arguing that the weak must be sacrificed for the strong to survive. Influenced by these ideas, Edmund poisons his father, leading to his death after he has shown some improvement in health following regular meals at the hospital and coming back to home recently. Following his father's death, Edmund is overwhelmed by guilt and trauma. Unable to cope with the weight of his actions and the emotional turmoil that ensues, he spirals into a deep depression and ultimately takes his own life.

"Germany, Year Zero" presents a seemingly minimal plot, but its storytelling and the use of post-war Berlin's ruins aim to convey a harsh reality. By shooting amidst the rubble of a devastated Berlin, the film provides a powerful backdrop that underscores the destruction of Germany in the year following its near-total collapse in World War II. Like Rossellini's other works, this film predominantly features non-professional actors, enhancing its raw and realistic feel. This film's unique characteristic lies not only in its German setting but also in its stark portrayal of urban devastation and human misery through both narrative and technical choices. As the trilogy focuses on the impact of the war on Axis country citizens, this finale movie extends beyond Italy to illustrate the broader geographical suffering.

The story delves into deeper tragedy when young Edmund, after following his teacher's grim advice, is crushed under the weight of his actions. Up until this point, the film maintains a tragic yet narrative-driven tone, but it shifts to a secondary, more profound tragedy as Edmund’s psychological descent intensifies. His lifeless body at the end symbolizes the collapse of values, order, and imbalance brought by Nazism. Although the film features a pseudo coming-of-age story with Edmund at its center, the harsh conditions prematurely age and wear down everyone. The stark poverty and the contrast of Hitler's voice extolling the "great German race" playing on a record emphasize the film's bleak reality in another particular scene. Edmund's eventual realization and confrontation with his actions highlight a powerful thematic choice, showing the tragic acceptance of the belief that the weak must perish for the strong to thrive. The father's line, "Our generation brought about these days; we did nothing," acknowledges the public's role in Hitler's rise, while Karl-Heinz, the brother who cannot face society, serves as another reflection of post-war guilt and the consequences of Nazism. In summary, "Germany, Year Zero" is a stark and emotionally intense film that uses its minimalist narrative and realistic depiction of post-war Berlin to convey the devastating impact of war on individuals and society. It serves as a poignant reminder of the consequences of fascism and the deep scars left by conflict.