Roberto Rossellini

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Roberto Rossellini
Roberto Gastone Zeffiro Rossellini
BirthplaceRome, Kingdom of Italy
Director, Producer, Screenwriter

Rossellini, Roberto

(rōbĕr`tō rōs-sĕl-lē`nē), 1906–77, Italian film director and producer. He first received international attention in 1946 with Open City, which was made clandestinely during the Fascist period and became the key film of the neorealist movement. He brought the real world into films by mixing non-actors and authentic locales with actors and studio sets. In Paisan (1946) and Stromboli (1949), he continued his striking use of locale as character. Beginning in the 1960s, Rossellini worked on a series of historical films for television, including The Rise of Louis XIV (1966). An affair with Ingrid BergmanBergman, Ingrid
, 1915–82, Swedish actress, b. Stockholm. Specializing in portrayals of strong, dignified, and sophisticated women, Bergman was acclaimed for her performance in Joan of Lorraine (1946) both on stage and on screen (1949).
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, whom he later married, caused an international scandal that obscured the quality of the films they made together in the 1950s, e.g., Europa '51 (The Greatest Love, 1952), La Paura (Fear, 1954).


See biography by T. Gallagher (1998); study by P. Brunette (1987).

Rossellini, Roberto


Born May 8, 1906, in Rome; died there June 3, 1977. Italian film director.

Together with F. De Robertis, Rossellini directed the militarist films White Ship (1941), The Pilot Comes Back (1942), and Men of the Cross (1942). However, in them he also concentrated on the sufferings caused by war and sought to make the films true to life. In 1945 he directed Open City, devoted to wartime resistance in Rome. The film, which was permeated with a spirit of antifascist unity and with heroic inspiration, became a manifesto of neorealism. Also of importance was Rossellini’s antifascist film P aisan (1946), which was tragic in tone.

In the late 1940’s and early 1950’s, Rossellini directed several films that dealt with moral degradation, including Germany Year Zero (1948), Europa 51 (1951), and Where Is Liberty? (1952). Religious and mystical motifs emerged in his films Francesco, Minstrel of God (1950) and Stromboli (1950). An upsurge of the democratic movement helped Rossellini overcome a creative crisis. He directed India (1958) and a number of films in which he returned to patriotic and antifascist subject matter, including General Delia Rovere (1959), It Was Night in Rome (1960), and Viva l’Italia (1961), which dealt with the campaigns of G. Garibaldi.

In the mid-1960’s, Rossellini worked in television. He made a number of general-educational historical films for television, including The Rise of Louis XIV, Socrates, and Pascal. These films remained outside the main current of progressive Italian cinematography, and in particular outside the “political cinema,” a trend that began in the late 1960’s. In 1975, Rossellini directed the feature film Year One, which depicted the country’s postwar political climate in a distorted manner.


Ferrara, G. Novoe ital’ianskoe kino. Moscow, 1959. (Translated from Italian.)


References in periodicals archive ?
Como citar: Rodriguez Granell, Ana y Pinol Lloret, Marta (2017): "La divulgacion de la modernidad cinematografica en Espana: Roberto Rossellini y la prensa franquista", en Estudios sobre el Mensaje Periodistico 23 (1), 587-601.
The film apparently wasn't as memorable or scandalous as, to quote the highly entertaining Bill Daley of the Tribune , " the off- screen affair between the married actress and her director, the married Roberto Rossellini, which resulted in a son being born before the two could marry each other.
Il testo si avvale anche dell'analisi di alcune pellicole cinematografiche, dal celeberrimo Paisa (1946) di Roberto Rossellini al poco noto The Search (1948) di Fred Zinnemann, sebbene la fiction--sia essa d'autore o meno--non appaia in grado di fornire elementi per delineare reali esperienze storiche, ma possa al massimo offrire spunti per definire la percezione delle spose italiane di guerra nell'immaginario collettivo oppure l'impiego della loro presenza per fini propagandistici nel clima della nascente guerra fredda.
Three films are scheduled for screening at 5 pm, including Life May Be by Irish filmmaker and critic Mark Cousins under the Spotlight category, and PaisA' by Italian director Roberto Rossellini (1906-1977), a 1946 movie and one of six Rossellini films to be screened during the festival.
Directors such as Roberto Rossellini and Vittorio De Sica have more recently credited him with allowing them artistic freedom in their work, so indirectly contributing to the post-war eminence of Italian cinema.
Deux films vont lui fournir l'illustration da se these Citizen Kane d'Orson Welles et Paisa de Roberto Rossellini.
These pieces resonate with period Neorealist poverty--think of the films of Roberto Rossellini and Vittorio De Sica that address the slicer hardship of Italy during the deprivations of World War II and its aftermath.
Interview with Roberto Rossellini, February 22-25, 1971 in Houston, Texas.
Marker remains one of the most distinctive and original filmmakers of the 20th century, along with others like Dziga Vertov or Roberto Rossellini.
On the big screen its foundations were laid in 1943 by Ossessione and I bambini ci guardano, directed respectively by Luchino Visconti and Vittorio De Sica, who after the war were, with Roberto Rossellini, the two most prominent representatives of new cinema.
Based on the 375MM sport prototype (that was a spin-off of the F1 single seater), this is a one-off version built for the film director Roberto Rossellini who then gave it to Ingrid Bergman as "marriage gift".
Among the directors and films discussed: Vittorio De Sica, Roberto Rossellini, The Roof, Forbidden Christ, Umberto D.