Roma Citta Libera (1948)

'Roma, Cittą Libera' ('Rome, Free City') [size=2]Marcello Pagliero, 1947 [/size]As mentioned previously 'Roma, Cittą Libera' ('Rome, Free City') is officially a 1946 film but I chose to take advantage of its late December release and include it here instead. Mainly because it offers a priceless illustration of post-war Rome and its disarray, without the darker moral journey of your average neorealist effort. Originally titled 'La Notte Porta Consiglio' ('The Night Brings Wisdom'), the film depicts life in a freshly liberated and obviously chaotic city. At this time Rome was like an open playground for thieves and prostitution as authorities struggled to keep some kind of order. The streets were still littered with drunken American troops and the graffitied signs of oppression, as a collective public seeked to get their hands on what little money they could find in any way possible. Director Marcello Pagliero chose to change the name of his film only after the success of 'Roma, Cittą Aperta' and although there are certain opposites the two films can't easily be compared. Here Pagliero took advantage of a quite excellent early script from acclaimed Abruzzi-born screenwriter Ennio Flaiano who would go on to write for Federico Fellini with such films as 'La Dolce Vita', 'La Strada' and '8½'. We open on a man attempting to commit suicide (Andrea Checchi) who is caught in the act by a kind-hearted crook (Nando Bruno). Once the thief realises that he actually owns a lot more than his potential victim the pair strike up a strange friendship. During the night they run into a dejected typist (Valentina Cortese) who is on the verge of eviction and doesn't earn nearly enough cash to pay the rent. As you may have guessed already no characters are ever named here, a stroke of genius by Flaiano that really adds to the feeling that our protagonists are simply faces in the night. They trickle from bar to ballroom to gambling joint until drunkenness wears off and the dawn light breaks through the cobbled streets. There is a plot involving stolen pearls which move from hand to hand as the rainswept night wears on, and in a sense it is these necklaces that tie our characters together. While exhibiting certain aspects of neorealism 'Roma, Cittą Libera' is certainly a lighter take, it moves quickly from cynical tones to buoyant, whimsical music so as to give the impression that everything will be okay in the end. This lighter side to the film is certainly a welcome one, and is aided further thanks to a beautiful performance by Vittorio De Sica as the hearty distinguished gentleman who somehow stumbles onto our characters' path. Apparently he is suffering from mild amnesia and all night he seeks a way to remember who he is, pleading strangers for a hint to their obvious disdain. Without offering up any serious moral statements or indeed a great amount of plot development 'Roma, Cittą Libera' is a charming little film nonetheless, and one that has been somehow lost in the shuffle of great Italian cinema. Of all those I have seen from this period it offers by far the most intriguing glimpse of old Rome. A city in turmoil; as our protagonists sigh the noisy, rain-drenched night away with cigarette, alcohol or espresso to hand. 6/10 :fresh: