6.9 "Bringing the camera to the street" might sound like a no-brainer, but one can probably realize where it came from. Documentary images have existed for a long time, but the development of images is closer to the appendage of drama or literature. Here is another possibility: a Nazi major overlooking Rome from his office, likes the way the citizens are photographed unsuspecting, so the image equals power. In essence, "Rome, Undefended City" uses one image to oppose another—that of surveillance, of control, of unequal power, of setting, of stage, of quality cinema. of.
If you look at it from the perspective of this era, you will be bored because of its ordinaryness. Yes, it has the so-called "historical significance of film". Another advantage must also be based on the era in which it appeared, which also releases positive energy. It does not take the surrender of the Nazis as the end of the story, but the children leave after confirming that the priest is dead, even though it is 1945. October. The meaning of the struggle is the struggle itself, not the final result. Here we know that neorealism is still accompanied by such a religious connotation that we usually need to believe in the existence of the Supreme by confirming miracles and karma, and the miracle here is the process itself. Pina was killed outright, Manfetti was arrested without any suspense, executed, sacrificed, nothing happened, but the priest was the audience for all this, although it was more preachy, but it was true, as long as you walk in On the way to God, what if you believe in God?
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