【转】《罗马，不设防的城市》与意大利新现实主义的诞生

本文是PeterBondanella所著书籍《TheFilmsofRobertoRossellini》的第三章“RomacittaapertaandtheBirthofItalianNeorealism”。我因为一节电影课而接触这篇文章，整体上里面有很多个人喜欢的内容，所以想记下来。但因为不知记到哪去，所以暂时放在豆瓣。找到合适的地方了再移走。以下加粗部分表示对个人而言是重点或者挺有趣/insightful。————————————————————————————————————————InspiteofthemanyprecursorsfilmhistorianshavecitedasantecedentsofItalianneorealismduringthefascistperiod,andespeciallyduringtheearly1940s,thebirthofItalianneorealismishistoricallyandemotionallylinkedforeverwiththeastoundinginternationalsuccessofRossellinix27;sportrayaloflifeinNazi-occupiedRomebetweenthefallofthefascistregimeinSeptember1943anditsliberationinJuneofthefollowingyear.Unlikethefateofalmostallotherneorealistfilms,whichseldomhadarespectableshowingattheboxofficeandwererarelysmashhits,RomacittaapertawasthelargestgrossingfilminItalyduringtheyearitfirstappeared,andcriticalreactionsinFranceandtheUnitedStates,aswellasbox-officesuccessesthere,wereequallypositive.Inaddition,thefactthatPaisawasscreenedabroadalmostsimultaneouslywithRomacittaapertahelpedtocreateaconsciousnessamongfilmcriticsthatsomethingnewwasbrewinginItaly(neorealism)andthatthisnewaestheticphenomenonwaslargelythecreationofanobscureItaliandirectornamedRobertoRossellini.Thefilmx27;splot,puttogetherbyateamofscriptwritersthatincludedRossellini,FedericoFellini,andSergioAmidei,isdeceptivelysimple.AMarxistpartisanleadernamedGiorgioManfrediwhoisbeinghiddenfromtheGermansbyaprinternamedFrancescoenliststheassistanceofapartisanpriest,DonPietro.Thenextday,justbeforeFrancescoistobemarriedtohispregnantfiancee,Pina,sheisgunneddownbytheGermanswhentheyarrestFrancesco.ManfrediistheobjectofanintensemanhuntbytheGer-manGestapo,ledbyanevilandeffeminateNazi,MajorBergmann.Themajorisassistedbyhislesbianagent,Ingrid,whousesdrugstoobtaininformationaboutManfredifromMarina,adancerandManfredix27;soldgirlfriend.ThesomewhatincrediblelinkbetweensuchdifferentfiguresasManfredi,Marina,Francesco,andPinaiseffectedbythefortuitousscriptinventionthatdepictsMarinaasaclosefriendofPinax27;ssister.Manfredi,DonPietro,andanAustriandeserterfromthebattlefieldofMonteCassinowhomthepriesthasbeenhidingareallcapturedbyBergmannafterIngridinducesMarinatobetraytheminreturnfordrugsandfurs.Thedeserterhangshimself;Manfredirefusestotalkundertorture,whileDonPietrolooksonindismay,anddiesfromthebrutaltreatmenthehasreceived;thenextmorning,thepriestfacesafiringsquadwhiletheyoungboysfromhisparishwitnesstheevent.Forafilm,suchasGonewiththeWind,CitizenKane,orLadolcevita,totranscenditsstatusasaworkofartandbecomeasocialphenomenonthatseemstoexemplifytheculturalatmosphereofitstime,aseriesoffortuitouscircumstancesandfavorabletimingarealwaysrequired.ThisistrueinthecaseofRomacittaaperta;thehistoryofthecreationofthisfilmrevealsabitoftheserendipitythatseemstohappenonlyinthemovies.However,apopularmythologyhasgrownuparoundthefilmthatismis-leadingand,insomeaspects,false.Agooddealofthemythologysurround-ingthisworkisassociatedwithitsquot;realisticquot;qualities,andasthefirstimportantneorealistfilm,muchofwhathasbeenwrittenaboutItalianneorealismhasoftenusedthefilmasaspringboardfordefiningthisphe-nomenoninfilmhistory,sometimeswithquiteconfusingresults.ConventionalwisdomaboutRomacittaapertaemphasizesthefilmx27;stechnicalnoveltiesandpracticallyignoresitsrelationshiptothecinemaofthefascistperiod,inwhichRossellinireceivedhistraining.Thus,thelegendarosethatRossellinidecidedtoemployquot;authenticquot;locationsbecauseCinecittax27;sstudioseitherweredestroyedbybombingsorwerefilledtocapacityshelteringrefugees.Infact,thereareimportantprecedentsforon-locationshootingduringthefascistperiodthathavealreadybeendiscussed,particularlyworksbyDeRobertisandAlessandrinithatcertainlymusthaveinfluencedRossellini.Ofcourse,Rossellinihimselfinhisownprewarfascisttrilogyoftenemploysauthenticlocations(especiallyinLanavebianco).Instressingon-locationshooting,earlyreactionstothefilmneglectedtonotethatthemajorityofthefilmx27;ssequencesactuallytakeplaceininteriors.Butevenmoreimportant,thelackofstudiosatCinecittadidnotresultintheuseofquot;realquot;interiorsettings.Rossellinimerelyconstructedfourcompletelyconventionalinteriorsetsforthemostimportantlocationsinthefilm-DonPietrox27;ssacristy,Gestapoheadquarters,thetortureroom,andthelivingroomwheretheGermanofficersrelax-inavacantbasementofabuildingonRomex27;sViadegliAvignonesi.AsFedericoFellinihasrecountedthestory,thelocationoftheseinteriorsplayedamajorroleinthereceptionofItalianneorealismabroad,foritwasonthesamestreet(number36)thatacele-bratedRomanbrotheloperatedbySignoraTinaTrabucchiwaslocated.Onenightwhileshootingwastakingplace,anAmericansoldiernamedRodGeiger,presumablyexitingfromSignoraTrabucchix27;sestablishment,staggereddrunkenlyacrossthestreetandtrippedovertheelectriccablessupplyingcurrenttoRossellinix27;screw.SteadiedbyasolicitousFellini,Geigerwatchedtheproduction,becamefascinatedbythefilm,andeventuallyconvincedRossellinitosellhimtheAmericanrightsforonlytwentythousanddollars.EvenRossellinix27;sdiscoverybythemanwhobecamehisfirstAmericanproducerwasaserendipitousaffair,thestuffofwhichmythsaremade.Thedocumentaryqualityofthefilmx27;sphotographyhasalwaysbeenoneofthebenchmarksoftraditionaldefinitionsofneorealism.Here,conven-tionalwisdomhasalwaysbeenclosertothemark.Tobesure,thegrainycharacterofthefilm(aswellasthefewbriefsegmentsofactualdocumentaryfootageinsertedbytheeditorintothefictionalstory)certainlyremindedviewerswhosawthefilmwhenitwasfirstreleasedofthekindsofpicturestheyassociatedwiththenewsreels.ThescarcityoffilmstockforcedRos-sellinitobuy35-millimeterfilminbitsandpiecesontheblackmarket,causinghimtousestockofdifferentqualityandprovenance.Inaddition,thevarianceinthelightingwasoftenstriking;Romewasstillsufferingfromthedeprivationsofthewar,andtheelectriccurrentexperienceddrasticandunexpectedfluctuations.Buteveninthisregard,thefacileassociationofthefilmx27;sphotographicstylewithrealismcannotalwaysbesustained.Perhapsitismoreaccuratetostatethatin1945,suchaphotographicstyleseemedrealisticbecauseaudiencesassociatedblack-and-whitefilmphotog-raphywithquot;realquot;events.Today,however,mostaudiencesassociaterealismwithlivetelevisionbroadcastsincolor.FewcontemporaryaudienceswillbestruckbytherealismofthephotographyintheRossellinifilm.Onthecontrary,theperspectiveofalmosthalfacenturyrevealsclearexpressionisticelementsinsomeofthephotographyandthelightingincrucialsequences,suchasthetorturescene.Thedefinitionoftheso-calledphotographicrealisminRomacittaapertathusdependsinsomemeasureonourpersonalexperienceandknowledgeofcinematichistory.Muchthesamemaybesaidofthepost-synchronizationofitssoundtrack.Becauseofalackoffunds,Rosselliniwasobligedtoshootwithoutdirectsound(developingsilentfootagecostsomesixtylirepermeter,whereasdevelopingsynchronizedfootagecosthundredsofliremore).AnotherresultofthefinancialsituationwasRossellinix27;savoidanceofdailyrushes,anothercost-cuttingmeasure.Althoughitistruethatthelackofsoundduringshootinggavethedirectormorefreedomofmovementwithhiscamera,whichmanytraditionalcriticsseeasafactorinthefilmx27;sheightenedrealism,dubbedsoundinafilmstudiocertainlydoesnotcreateadirectlinktotheworldquot;outthere,quot;whichwassupposedtobetheneorealistx27;saestheticgoal.Post-synchronizationofsoundbecamealmostthenorminItalyforseveraldecadesastheresultofneorealistpractice,andithasbeenonlyrecentlythatsomedirectors,suchasBernardoBertolucci,havemovedbacktowardtheinternationalcommercialmarketandsynchronizedsound.Itisdifficulttomaintainthatpost-synchronizationisrealistic.Infact,bothPasoliniandFellini,tomentiononlytwoItaliandirectorswhohavealwaysdubbedtheirsoundtracks,havedeclaredthattheydosopreciselytoavoidanyhintofnaturalismorrealismintheirworks.However,indubbingthesoundaftertheshooting,RosselliniwasabletoheightentheauthenticityofthesoundtrackbyhavinghisGermansspeakGermanandhisItaliansspeakItalian,somethingthatmustsurelyhavestruckmanyAmericanviewersasrealisticwhenHollywoodx27;scom-mercialcinemaoftenhandledthisproblemquitedifferently-byhavingforeignersspeakeitherakindofOxfordEnglishoraheavilyaccentedEnglishtodistinguishthemfromtheAmericans.PerhapsthemostpersuasiveofthemanystylisticelementstraditionaldefinitionsciteastypicalofItalianneorealismisarelianceuponnonprofessionalactors.AswehaveseeninoursurveyofItaliancinemaduringthefascistperiod,however,therewasnothingoriginalinthis.PerhapsitwouldbemoreprecisetosaythatrarelyhavenonprofessionalactorsbeenusedsoskillfullyastheywerebyRosselliniinPaisa,DeSicainLadridibiciclette(TheBicycleThief,1948),orViscontiinLaterratrema(TheEarthTrem-bles,1948).ButthisexploitationofnonprofessionalactorsforparticularaestheticeffectsistotallyabsentfromRomacittaaperta.Theentirecastofthefilmhadextensiveexperienceintheentertainmentworld.AldoFabrizi(DonPietro)andAnnaMagnani(Pina),bothofwhomwerecatapultedtointernationalfamewiththesuccessofthefilm,hadextensiveexperienceintheentertainmentbusiness,notonlyinthemusichallformofavanspettacoloentertainmentroughlyequivalenttoAmericax27;svaudeville,butalsoinfilmrolestogether,wheretheparticularchemistryoftheirartisticpersonalitieshadalreadyachievedcommercialsuccessinMarioBonardx27;scomicfilmCampodefiori(Campodex27;FioriSquare,1943).MarcelloPagliero(Manfredi)hadalreadydirectedafilmofhisown.HarryFeist(MajorBergmann)wasadancer,aswasMariaMichi(Marina),whoprobablylandedherpartnotbecauseshehadbeenworkingasanusherattheBarberiniCinemabut,instead,becauseshewasscriptwriterSergioAmideix27;smistress.Evenminorroles,suchasthoseplayedbyNandoBruno(thesacristan)andEdoardoPassarelli(thepoliceman),werefilledbyactorswhocamefromthevarietyhall.Ratherthanbasinghisfilmonnonprofessionalactingperformances,Rossellinireliedupontheconsummateskillsofseasonedprofessionals,buthecasthistroupeinunaccustomedroles,placingfiguresnormallyassociatedwithcomicrolesinsituationsthatwouldcallfortragicortragicomicactions.ThehybridsystemofcastingmarkingRossellinix27;sproductionoffersaninsightintothedirectorx27;saestheticintentions,forquot;hybridquot;stylemightwellbetakenasthemostappropriatedescriptionofRossellinix27;smanner,followingthedictionarydefinitionofthetermthatexplainsthewordwithsynonymssuchasquot;medley,quot;quot;mixture,quot;orquot;combination.quot;RomacittaapertadoesnotcompletelyabandonorrejecttraditionalcinematicstyleorgenericconventionsandreplacethemwithanabsolutelyoriginalneorealiststyleorneorealistcinematicconventionsofRossellinix27;sinvention.Forex-ample,Rossellinix27;seditingis,asBrunettehaspointedout,forthemostpartquot;x27;classicx27;-thatis,illusionist,meanttobeasinvisibleasthetraditionalHollywoodvarietyquot;becauseitservesprimarilytounderscorethenarrativelineandtoincreaseemotionalinvolvement.ThereisverylittleofthemontageweassociatewithEisensteinandthatRosselliniemployedsoskillfullyinLanavebianca,noraretheremanyextremelylongtakes,thefuturedirectionofRossellinix27;scinema,hintsofwhichcanbedetectedinUuomodallacroce.Instead,Rosselliniintroducesanumberofnovelelementsintoaconventionalcontext,andtheirpowerdependspreciselyupontheviewerx27;sinterpretingthemagainstthebackdropoftraditionalcinematicpractice.Moreover,theideologicalandethicalmessageofthefilmismorethanahybridandmightbestbedescribedasaphilosophicalcompromisewhereinviewsofextremelydifferentpoliticalgroupsaretelescopedintothesmallcastofcharactersinthefilminanuneasysynthesisthatwouldnotendureforlongintheturbulentworldofItaliandomesticpolitics.PerhapsRos-sellinix27;sgreatestachievementinthisfilmwastofusethenarrativestructureofhishybridcreationwiththeideologicalcompromiseinthefilmx27;sscriptsothateachcomplementedtheotherharmoniously,asourdiscussionofthefilmwilldemonstrate.Rossellinix27;sportrayalofItalianlifeunderGermanoccupationreflectsastarkjuxtapositionofgood(theResistanceforces)andevil(thepervertedNazisandtheirmuchlessoffensiveItalianallies)thatremindsthevieweroftheideologicalworldofUuomodallacroce,whereBolshevikswereidentifiedwithbarbarismandItaliansweredefendingWesterncivilization.NowtheNazisreplacetheBolsheviks,butunlikethatearlierfilm(whereSergeiandIrinawereclearlysympatheticfigures),theNazisembodyunmitigatedevilwithnoredeemingvirtueswhatsoever.RossellinitreatsthemostimportantGermanfiguresashehaddepictedFyodorearlier.ItisnotenoughforhimthatBergmannisamoralmonster.Heisalsoportrayedasaneffeminatehomosexual,andhisassistantIngridisaviper-likelesbianwhoseducesMarinawithdrugsandfurstoobtaininformationaboutManfredi.ThetoneoftheworkisthusfarmoreindebtedtoRossellinix27;smessageofChristianhumanismthantoanyprogrammaticattemptatcinematicrealism.ThepositivecharacterswhofighttheNazisarejoinedbytheirbeliefinwhatFrancescocallsanimpendingquot;springtimequot;inItalyandabettertomorrow.Pina,Francesco,DonPietro,andManfrediareallunitedbythisfaithinabrighterfuture,whileMarinaandPinax27;ssisterLaurettaaremesmerizedbythesuperficialvaluesofcafesocietyandtheconsumergoodsprofferedbytheGermanswithwhomtheyassociate.Marinaiscor-ruptednotbecauseofIngridx27;sblandishmentsbut,rather,becauseshelacksfaithinherselfand,therefore,isincapableoflovingothers.MarxistsandChristiansalikeadheretoRossellinix27;sChristiancredobestembodiedinDonPietrox27;slastwordsbeforehefacesafiringsquad:quot;Oh,itx27;snothardtodiewell.Itx27;shardtolivewell.quot;Infact,asadetailedanalysisofthetorturesequencereveals,theiconographyofManfredix27;sdeathassociateshimwiththecrucifiedChrist.Rossellinieffectsakindofquot;historicalcompromisequot;betweenCatholicismandMarxismwithinthepartisanranks,butthisshouldinnowaybeconstruedasafalsificationofthehistoricalfacts.ItalianCommunistshavedonetheirbesttopicturetheanti-NaziResistanceasapurelycommunistphenomenon,butthetruthismuchmorecomplicated,withcontributionscomingfromallsegmentsofItaliansociety,includingperhapsthemostsignificantfrommembersoftheroyalarmedforcesandthepolice,whoseactionsareusuallyonlygrudginglyrecognizedbyboththeCatholicandtheMarxistelementswithintheResistance.ThescriptforRomacittaapertaincorporatestheseveryrealideologicalandhistoricaltensionsthat,inturn,embodyauthenticforceswithinthefabricofItaliansociety.ThefactthatthescriptwassocrucialtothemakingofthefilmalsoundercutsanotherofthemythsaboutItalianneorealismandRossellinix27;sstylisticcontributiontoit—thatofimprovisation.Therewaslittleaboutthefilmthatwasnotarguedoutandwrittenoverandoveragain,andtheslowevolutionofthescriptsaysagreatdealabouttheideologicalperspectivesofthevariousscriptwritersinvolved.Rossellinix27;soriginalidea,entitledStoriediieri(StoriesofYesterday),wastotreattheeventsleadingtotheexecutionon4April1944ofDonGiuseppeMorosini,aCatholicpriestactiveintheResistance.BeforespeakingtoRosselliniaboutthisparticularidea,SergioAmidei,anextremelytalentedscriptwriterofwell-knowncommunistsympathies,hadbegunanotherscriptontheblackmarket.Afterdiscussingthetwoconcepts,thetwomendecidedtoincludeAmideix27;smaterialinanewepisodicfilmabouttheNazioccupationofRome.Subsequently,aNeapolitanjournalistnamedAlbertoConsigliosuggestedastoryaboutapartisanpriestnamedDonPappagallo,andafteraproducerwasfound,Consiglio(whowasnevercreditedforhiswork)combinedhisfictitiouscharacterwithDonMorosinitoproducetheoutlineofwhatfinallybecameDonPietro.Beforetheliberation,Amideihadreadaboutanotherstrikingincident,thesavagemachine-gunningofapregnantwomaninVialeGiulioCesareassheranafterherhusband,arrestedduringoneoftheGermandragnets.ThisfigureevolvedintoPina,andPinax27;sdeathwouldbecomethesinglemostdramaticmomentofthefilm.ItwasapparentlyAmideiwhoinsistedupontheadditiontothescriptofaMarxistpartisan,Manfredi,toensure,atleasttohissatisfaction,thattherewouldbeonemodelheroreflectinghisownideologicalposition.Allaccountsofthepro-ductionofthefilmunanimouslyagreethatthewriterwhoshapedthefigureofthepriestinthefinalscriptwasnoneotherthanFedericoFellini,whowasaclosefriendofAldoFabrizi.RossellinifirstmetFelliniwhenheapproachedFellinitoaskhimtoconvincehisfriendFabrizitotaketheroleofDonPietro.FellinihadbegunhiscareerasacartoonistandgagwriterwiththeRomanhumormagazineMarcx27;Aurelio,andafteranapprenticeshipwiththemagazine,hehadturned(assomanyotherwritersconnectedwithitdid)toscriptwritingforthecinema,particularlyfilmcomedies.Fabrizix27;sperformance,requiringanalmostperfectbalancebetweencomictimingandserioustragicdignity,owesagreatdealtoFellinix27;scontributionstothescript.AnditwasdefinitelyFellinix27;sinspirationtoinsertthefrying-pangagintotheaction,aslapstickroutinetypicalofhiswritingforearliercomicfilms.ItwasamarkofRossellinix27;sintelligencethathesucceededinblendingthetalentsoftwocompletelydifferentmenwithinasinglescreenplay:theapoliticalFellini,whohadcomicwitandasureawarenessofhowtoma-nipulatetheaudiencex27;semotions,andtheleftistintellectualAmidei,whohadasounderunderstandingofhowtosetindividualincidentswithinabroaderpoliticalcontext.WhenRosselliniacceptedFellinix27;scomicinter-pretationofDonPietroand,inthefinalediting,juxtaposedthissequenceofhilariousslapstickcomedyfromthevarietytheaterwiththemomentofdarkestpathosinthefilm-thesequenceinwhichPinaiskilled-theteamofscriptwritersanddirectorsucceededinproducingoneofthemostmovingmomentsinthehistoryofthecinema.RossellinineveravoidsthehintsoftensionbetweenthetwoforceswithintheResistancethatwouldbelockedinastruggleforpowerinpostwarItalythathascontinuedtothisday.Manfredi,forexample,expressesmilddis-approvalofPinax27;sreligiousmarriage,butshenotesthatitisbettertobemarriedbyapartisanpriestthanbyaFascistofficialatcityhall.Inanotherscene,aleftistprinterpointedlytellsDonPietrothateveryoneisnotluckyenoughtobeabletohideinamonastery.EvenmoresignificantinthisregardaretheproposalsthatMajorBergmannmakestobothDonPietroandManfrediafterhehascapturedthemboth.ToManfredi,heofferstosparethemembersofhispartyifhebetraysthemoreconservative,CatholicmembersoftheResistance,butManfredirejectshisproposalbyspittingonhim,anactionofdefiancethatresultsinhisrenewedtortureandeventualdeath.ToDonPietro,BergmannarguespersuasivelythattheCommunistsaretheswornenemiesofthechurch,whowilldestroyallorganizedreligioniftheytakepower.DonPietrorepliesthatallmenwhofightforjusticeandlibertywalkinthepathwaysoftheLord.Asbefitsafilmwhosemainactorscamefromthemusichalltheaterandfilmcomedy,Romacittaapertacontainsagreatdealofauthentichumor,butthehumorisplacedwithinaprofoundlytragicomicvisionoflifethatjuxtaposesmelodramaticmomentsorinstancesofcomicreliefanddarkhumortothemosttragicofhumanexperiencesthatreconstructamomentinrecentItalianhistory.Thechurch,andDonPietroinparticular,aretheobjectofmuchofthishumor.Whenthesexton,Agostino,sayshecannotlootabakerybecauseheworksforthechurch,PinasarcasticallyinformshimhewillhavetoeathiscakeinParadise.WhenDonPietrovisitsareligiousshopoverResistanceheadquarters,heisoffendedbytheproximityofastatueofSaintRoccoandoneofanudewoman;firstheturnsthenudearound(givingthesaintabeautifulviewofthewomanx27;sbackside),andthenafterreconsideringtheproblem,hedecidesthatthesaintshouldnotbesubjectedtotemptationandturnshisfaceawayfromthenudeaswell!WhenFascistsoldiersarrivetosearchtheworkersx27;apartmentsonViaCasilinatolookforconcealedpartisans,ManfrediandothersmanagetoescapebecausetheItaliantroopsarepreoccupiedwithtryingtopeeruptheskirtsofthewomenonthestaircase.ItisimportanttonotethatthesetroopsareItalians,picturedthroughoutthefilmaslikablebutbumblingandin-effectualclowns,incontrasttothesuperefficientGermans,whowouldneveractinsuchanunmilitaryandundisciplinedmanner.ThisgenerallycomicandsympatheticportraitofItalianofficialscontinueswhenatolerantItalianpolicemanobservesPinaandotherwomenlootingabakery.Ratherthandoinghisduty,themansadlyremarkshewisheshewerenotinuniformsothathecouldjointhem.Thefilmx27;shumortakesonadecidedlysomberandnegativetonewhenitisdirectedattheGermans.AsGermansoldiersenterarestaurantwhereManfrediiseating,weimmediatelyfearthatheisabouttobearrested,butthissuspenseisalleviatedbyourdiscoverythattheGermanshaveonlycometobutcheralivelambandtoeatit,andourfear(aswellasManfredix27;s)isdissolvedbythehumorousquipoftheres-taurantowner,Flavio—hesaysheforgotthatGermanswerespecialistsinbutchering!TheentirefilmrevolvesaroundRossellinix27;sadeptshiftingofperspectivesfromacomictoatragictone,andnowhereisthismoreevidentthaninthefilmx27;smostfamoussequences,involvingthesearchofPinax27;sapartmentbuildingandhersubsequentdeathassheracesafterFrancescobeingcarriedawayinatruck.Theeventoccursonthedayoftheirwedding;thus,thepromiseofanewspringtimeinItalythatFrancescodescribedtoPinaearlierwillendintragedyanddeath.Butthistragedyisintroducedbyaslapstickcomicsceneworthyofthebestvaudevilliantraditions.AstheGermansandtheItaliantroopsundertheircommandinspectthebuilding,DonPietroandMarcello(Pinax27;sson,nowdressedasanaltarboy)arriveattheapart-mentcomplexsupposedlytogivethelastritestoPinax27;sfather,butactuallytolocateandconcealweaponsandbombskeptinthebuildingbyoneofMarcellox27;sfriends,acrippledyoungmannamedappropriatelyRomoletto(quot;LittleRomulusquot;).Romolettorepresentsamirrorimageofthepartisansbutinacomickey,andhisearlierappearancesinthefilmgeneratelaughterwhenherepeatsMarxistpoliticalsloganswithoutreallyunderstandingtheirsignificance.InspiteofRossellinix27;soften-citedaversiontodramaticediting,afeatureofhislater,maturestylethatwillbediscussedinsubsequentchapters,hereheskillfullybuildssuspenseashecutsbackandforthbetweenthepriestx27;ssearchfortheweaponsandhissubsequentdescenttothedyingmanx27;sroom,ontheonehand,andthemenacingascentofthesuspiciousFascistofficerandhistroops,ontheother.Whenthesoldiersfinallyentertheroom,DonPietrocanbeseenpeacefullyadministeringthelastritestoPinax27;sfather,whoiswearingabeatificsmile,withMarcelloathisside.Onlyafterthedangerispassedandthepriestfranticallyattemptstorevivethemoribundsleeperdoweunderstandthattocalmtheoldman(whowasterrifiedwhenheawokeandsawapriestreadytoadministerthelastritestohim),DonPietrohadknockedthemanunconsciouswithafryingpan,whichnowrevealsahugedentinitwhenexaminedbyMarcello.Thecontrabandweaponswerehiddenunderneaththeoldmanx27;sbedonlyamomentbeforethearrivaloftheFascistsoldiers.Comicgagsdisappearthereafter,forindefianceofthesoldiersaroundher,PinarunsafterthetruckcarryingFrancesco.Immediatelypriortotheshootingthatendsherlife,Rossellinix27;scamerashiftstotheinteriorofthetrucktocapturethescenefromFrancescox27;spointofview,andthefactthatweshareitincreasesthedramaticimpactofthescene.Wehearaloudburstofmachine-gunfire,Marcelloracestowardhismotherscreaming,andPinaisshownlyinginthestreet,herfaceturnedintheagonyofdeathandherrightlegbaredtoagarterbelt,animageunderliningtheobscenityofheruntimelydemise.Inthenextsequence,andcompletelywithoutrhetoricalorsentimentalemphasisofanykind,Francescox27;struckisambushedbypartisansinoneoftheveryfewexteriorsequencesRosselliniemploysinthefilm.AsFrancescoescapes,wesuddenlyrealizethatPinax27;sdeathwascompletelymeaningless,likesomanyoccurrencesinwartime.ThescenessituatedatGestapoheadquartersinViaTassoarejustlyconsideredamongthemostmovingoftheentirefilm,andthey,too,areconstructedaroundthejuxtapositionofdifferentmoodsandcinematictechniques.Andinthesesequences,contrarytothetraditionalbeliefthatsetsareoflittleimportanceinneorealistfilms,theverystructureofthesetitselfheightensRossellinix27;sdrama.FromthecentralofficeinwhichBerg-manninterrogateshisprisoners,therearetwodoorsopeningoutontoentirelydifferentworlds.OnedoorleadsintoatorturechamberinhabitedbyghoulishNaziswhosefingersarestainedwiththebloodoftheirvictimsandwhononchalantlyandindifferentlylighttheircigaretteswiththesameblowtorchwithwhichtheyscorchManfredix27;schest.Theotherplungesusintoacompletelydifferent,decadentatmospherewhereGermanofficersplaycards,drinkbrandyorchampagne,listentopianomusic,andchatpleasantly,oblivioustothehumansufferingontheothersideofthewall.OnlyBergmannmoveseffortlesslybetweenthesethreedifferentlocations,andhisphysicalmovementsbetweenthem,viewedmostoftenfromDonPietrox27;sperspective,whoremainsinthecentralroomandpeersthrougheachdoor,accentuatetheemotionalandmoraldistancebetweenthetwoindividuals.Ironically,whileweareprivilegedtoseeeverylittledetailofthehorribledramathatisunfolding,DonPietrox27;sspectacleshavebeenbrokenduringhiscapture,andthepoint-of-viewshotsnominallyfromhisperspectivearemuchclearerthanifhehadactuallyviewedthemhimself.Manfredix27;stortureisoneofthemosthorrifyingscenesinthehistoryoffilmmaking,andyet,Rosselliniachievesanenormouslyemotionalimpactuponhisaudiencewithoutevershowingtheviewertheactualeventsofhistorture.Instead,weseedetailedclose-upsoftheanguishedreactionsofamyopicDonPietrowhocanhardlyseethescenehimself.Voice-oversconveythescreamsfromtheotherroom,andlikeDonPietrowithouthisglasses,weexperiencethetortureofManfredithroughthepowerofourimagina-tion.Eveninthisscenetragedymixeswithblackhumor.WhileManfredix27;sagonymovesthepriesttotears,aGermansoldierquietlysharpenshispencilandawaitsBergmannx27;sorders.WhenManfredidies,withoutrevealingthenamesofhiscompatriots,RosselliniframesthisCommunistpartisanleaderasifhewerephotographingthecrucifiedChrist,employingthetraditionaliconographyfamiliartousallfromnumerousworksofart.ThefinaltouchtothispictureofmoraldegradationisprovidedbyadrunkenMarina,whostrollsfromthesalonwhereIngridisentertainingher,unawarethattheex-lovershehasbetrayedisbeingtorturedtodeathinthenextroom.Sheisdrapedintheluxuriousfurcoatthatshehasreceivedasherreward,butasshepeersintotheroomwithHartmannandseesManfredi,shescreamsandfaints.Ingridx27;sonlyreactionistoscoldBergmannforhisfailure,remindinghimthatshedidnotthinkitwouldbeeasytobreakManfrediandthencoollypickingupthecoatMarinahasdropped,withthecallousremark:quot;Forthenexttime.quot;DuringManfredix27;storment,RosselliniintroducestheviewertoanotherGermanofficer,MajorHartmann,wholistenstothepianowithBergmannandIngridintheadjacentsalon.There,BergmanndeclarestoHartmannthattheGermansareamasterraceandthattheItalianunderinterrogationwouldeventuallybetrayhiscause.Ifhedidnot,thenItalianswouldnotbeinferiortoGermansandthewartodefendthemasterracewouldhavenomeaning.Hartmann,recklesswithtoomuchliquor,argueswithBergmann,tellinghimthatduringWorldWarI,theGermanssupposedthatthepeopletheyfoughtwerelessermen,andyet,atthattimeFrenchpatriotsdiedundertorturewithoutgivingintotheirinterrogators.Here,atlonglast,Rosselliniseemstobesaying,isaGermanwithaconscience.However,thenextmorningafterManfredix27;sdeath,whenDonPietroissentencedtodiebyafiringsquad,itisthesameMajorHartmann,nowsober,whocommandstheItaliantroopsassignedtoperformthisgruesometask.AndwhenthesuperstitiousyoungItaliandrafteesrefusetoshootapriest(yetanotherinstancewhereRosselliniportraysItaliansaslikablebutineffectualandnonpolitical),itisHartmannwhodeliversthecoupdegracewithhispistolwithlittlehesitationandcertainlywithnoneoftheself-doubtthatchar-acterizedhimwhenhewasdrunk.InRossellinix27;sManichaeanmoraluni-verse,itseemsaGermancanhaveaconscienceonlywhenintoxicated.Afterhavingmanipulatedtheviewerx27;semotionsthroughoutthefilmwithsuchskill,Rossellinidoesnotconcludehisfilmonacompletelynegativenote.NotonlydoesthetorturescenecontaintheiconographytraditionallyassociatedwiththecrucifiedChrist,butthetoneofthelastsequenceistriumphantlyassociatedwiththeconceptofChristianresurrectionandre-birth.Romoletto,Marcello,andtheotherchildrenobserveDonPietrox27;sexecution(noadultwitnessesarepresentbesidesthesoldiers),andastheyleavethescene,Rossellinipansafterthem,Italyx27;sfuture,placingthechildrenagainstthebackdropofthedomeofSt.Peterx27;sCathedral.Passingfromanimageoftragicdespairtoanotherfullofpromiseforthequot;springtimeinItalyquot;Francescoforetoldearlierinthefilm,Rossellinicreatesavisionofhopewiththisfirstofmanysymbolicimagesassociatedwithchildrenthatcharacterizesomanyoftheneorealistclassics.ItshouldbeclearfromthisanalysisofRomacittaapertathatRossellinix27;sfilmsucceedspreciselybecauseitcombinesanumberofnewstylisticele-mentsnotnormallyassociatedwithcommercialcinemawithwhatonecriticalinterpretationlabelsquot;bourgeoisillusionistcinema,quot;astylereflectingatotalandunquestioningmasteryofasystemofrepresentationbuiltupbybourgeoisfilmculturefromD.W.Griffithon.Itisasystemofrepresentationwhosefundamentalintentistomaketheaudiencesuspenditsdisbelief,andentertheworldofthefilmasifitweretherealworld;theaudienceisencouragedtoreadthetimeandspaceofthefilmx27;sactionsashomogenous,unified,x27;realx27;:theemphasisonx27;realityx27;atthestructurallevelleadstoamaskingoftheprocessofproductionofmeaning.ThenegativetoneofthisparticularinterpretationhasbeenechoedbyothercriticswhohaveembracedamodernistaestheticassociatedinthetheaterwithBertoltBrechtandinthecinemawithJean-LucGodardandfilmtheoristsinfluencedbybothBrechtandGodard.WhenRossellinix27;sneorealistworksfirstappeared,hewasseenvirtuallyasthecreatorofanentirelynewrealisticaesthetic.Currently,insomecriticalcircles,hisrelianceupontra-ditionaldevicesofmelodrama-identificationwiththefilmx27;scentralchar-acters,manipulationoftheaudiencex27;semotionalresponsestodramaticsituations,anedifyingconclusionofferinghopeofimprovement,theuseofchildrentoevokeasentimentalresponseintheviewer-hasbeencitedasproofthatRosselliniandneorealismingeneralwerepoliticallyconservative,ifnotreactionary,andthatlittleofanyconsequencewasachievedbywhathastraditionallybeendefinedasarevolutioninthehistoryofthecinemawiththecriticaltriumphsofRossellini,DeSica,andVisconti(nottomentionahostoflesserfigures).Thetruthliessomewherebetweenthesetwoextremecriticalpositions.TheearlypraiseofRosselliniforcreatinganentirelynewfilmaestheticcancertainlynotbesustainedwithRomacittaapertaasthetestcase.Asweshallseeinthenextchapter,anargumentforRossellinix27;soriginalitycanmoreeasilybemadewithPaisa.Rossellinix27;sinnovationsinthefirstpartofhisneorealisttrilogylieinhisuniqueunderstandingofhowtheboundariesoftraditionalcinematicnarrativecouldbestretchedinadirectionthatwouldbearfruitinhissubsequentworks.ButtosaythatearlyassessmentsofthisfilmwereoverblownisnottoadmitthevalidityofthestricturesbroughtagainstRossellinioflate—thathefailedtoadoptamodernistaestheticsimilartooneespousedbyBrechtorGodardandthathedidnotaimtochangesocietywithhisfilms.TodenytheevidentemotionalpowerofamasterpiecesuchasRomacittaapertaonthegroundsthatitbreaksasetofmodernistrulesfewwritersinthehistoryofliteratureandevenfewerdirectorsinthehistoryofthecinemawouldacceptreflectsthekindofpoliticallycorrectthinkingthathasbecomepartofsomuchcontemporaryacademicwriting.NeitherexaggeratingRossellinix27;soriginalityinRomacittaapertanorbelittlingtheemotionalimpactofwhatmustbedefinedasahybridbrandofcinemacombiningthecodesofthetraditionalnarrativecinemawithsomeboldinnovationsdoesjusticetothecreativeforcethatemergesinRossellinix27;smasterpieceandalmostunassistedmovesItaliancinemainadifferentdirectionforthenextdecade.——————————————————————————————————————————后续：教授说这篇文章干货很多，但行文过于allovertheplace（thesis在章节的近乎中间才出现）。个人觉得说的很对。