Roberto Rossellini

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Roberto Rossellini
Roberto Rossellini.jpg
Rossellini posing for a photograph.
Born Roberto Gastone Zeffiro Rossellini
(1906-05-08)8 May 1906
Rome, Kingdom of Italy
Died 3 June 1977(1977-06-03) (aged 71)
Rome, Italy
Occupation Director, Producer, Screenwriter
Years active 1936–1977
Spouse(s) Assia Noris
Marcella De Marchis (1936–1950)
Ingrid Bergman (1950–1957)
Sonali Das Gupta (1957–1977)
Children 6 (including Isabella Rossellini), 1 adopted stepson, 1 stepdaughter

Roberto Gastone Zeffiro Rossellini[1][2] (8 May 1906 – 3 June 1977) was an Italian film director and screenwriter. Rossellini was one of the directors of the Italian neorealist cinema, contributing films such as Roma città aperta (Rome, Open City 1945) to the movement.

Early life[edit]

Rossellini was born in Rome. His mother, Elettra (née Bellan), was a housewife, and his father, Angiolo Giuseppe "Beppino" Rossellini, owned a construction firm.[3] His mother was of part French descent, from immigrants who had arrived in Italy during the Napoleonic Wars.[4] He lived on the Via Ludovisi, where Benito Mussolini had his first Roman hotel in 1922 when Fascism obtained power in Italy.[5]

Rossellini's father built the first cinema in Rome, and later on also the famous "Barberini's", granting his son an unlimited free pass; the young Rossellini started frequenting the cinema at an early age. When his father died, he worked as a soundmaker for films and for a certain time he experienced all the accessory jobs related to the creation of a film, gaining competence in each field. Rossellini had a brother, Renzo, who later scored many of his films.

On 26 September 1936, he married Marcella De Marchis (17 January 1916, Rome – 25 February 2009, Sarteano), a costume designer. This was after a quick annulment from Assia Noris, a Russian actress who worked in Italian films. De Marchis and Rossellini had two sons: Marco Romano (born 3 July 1937 and died of appendicitis in 1946), and Renzo. Rossellini and De Marchis separated in 1950 (and eventually divorced). Although he wasn't personally religious,[6] he had a strong interest in Christian values in the contemporary world;[7] he loved the Church's ethical teaching, and was enchanted by religious sentiment—things which he saw as being neglected in the materialist world.[7]

Career[edit]

In 1937, Rossellini made his first documentary, Prélude à l'après-midi d'un faune. After this essay, he was called to assist Goffredo Alessandrini in making Luciano Serra pilota, one of the most successful Italian films of the first half of the 20th century. In 1940 he was called to assist Francesco De Robertis on Uomini sul Fondo.[citation needed] His close friendship with Vittorio Mussolini, son of Il Duce, has been interpreted as a possible reason for having been preferred to other apprentices.

Some authors describe the first part of his career as a sequence of trilogies. His first feature film, The White Ship (1941) was sponsored by the audiovisual propaganda centre of Navy Department and is the first work in Rossellini's "Fascist Trilogy", together with A Pilot Returns (1942) and The Man with a Cross (1943). To this period belongs his friendship and cooperation with Federico Fellini and Aldo Fabrizi. The Fascist regime collapsed in 1943 and just two months after the liberation of Rome (June 4, 1944), Rossellini was already preparing the anti-fascist Roma città aperta (Rome, Open City 1945). Fellini assisted on the script and Fabrizi played the role of the priest, while Rossellini self-produced. Most of the money came from credits and loans, and film had to be found on the black market. This dramatic film was an immediate success. Rossellini had started now his so-called Neorealistic Trilogy, the second title of which was Paisà (1946), produced with non-professional actors, and the third, Germany, Year Zero (1948), sponsored by a French producer and filmed in Berlin's French sector. In Berlin also, Rossellini preferred non-actors, but he was unable to find a face he found "interesting"; he placed his camera in the center of a town square, as he did for Paisà, but was surprised when nobody came to watch.

As he declared in an interview, "in order to really create the character that one has in mind, it is necessary for the director to engage in a battle with his actor which usually ends with submitting to the actor's wish. Since I do not have the desire to waste my energy in a battle like this, I only use professional actors occasionally". One of the reasons for success is supposed to be Rossellini's rewriting of the scripts according to the non-professional actors' feelings and histories. Regional accent, dialect and costumes were shown in the film how they were in real life.

After his Neorealist Trilogy, Rossellini produced two films now classified as the 'Transitional films': L'Amore (1948) (with Anna Magnani) and La macchina ammazzacattivi (1952), on the capability of cinema to portray reality and truth (with recalls of commedia dell'arte). In 1948, Rossellini received a letter from a famous foreign actress proposing a collaboration:

Dear Mr. Rossellini,
I saw your films Open City and Paisan, and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian knows only "ti amo", I am ready to come and make a film with you.
Ingrid Bergman

With this letter began one of the best known love stories in film history, with Bergman and Rossellini both at the peak of their careers. Their first collaboration was Stromboli terra di Dio (1950) (in the island of Stromboli, whose volcano quite conveniently erupted during filming). This affair caused a great scandal in some countries (Bergman and Rossellini were both married to other people); the scandal intensified when Bergman became pregnant with Roberto Ingmar Rossellini. Rossellini and Bergman had two more children, Isabella Rossellini (actress & model) and her twin, Ingrid Isotta. Europa '51 (1952), Siamo Donne (1953), Journey to Italy (1953), La paura (1954) and Giovanna d'Arco al rogo (1954) were the other films on which they worked together.

In 1957, Jawaharlal Nehru, the Indian Prime Minister at the time, invited him to India to make the documentary India and put some life into the floundering Indian Films Division. Though married to Bergman, he had an affair with Sonali Das Gupta, a screenwriter, herself married to local filmmaker Hari sadhan Dasgupta, who was helping develop vignettes for the film.[8] Given the climate of the 1950s this led to a huge scandal in India as well as Hollywood.[9] Nehru had to ask Rossellini to leave.[citation needed] Soon after, Bergman and Rossellini separated.

Rossellini eloped with married Sonali Das Gupta, when she was only 27 years old and later married her in 1957 and adopted her young son Arjun, renamed Gil Rossellini (23 October 1956 – 3 October 2008). Rossellini and Sonali had a daughter together, Raffaella Rossellini (born 1958), who is also an actress and model.[9][10]

In 1973 Rossellini left Sonali for a young woman, Silvia D'Amico.

In 1971, Rice University in Houston, Texas, invited Rossellini to help establish a Media Center, where in 1970 he had begun planning a film on science with Rice Professor, Donald D. Clayton.[11] They worked daily for two weeks in Rome in summer 1970; but financing was inadequate to begin filming. In 1973, he was invited to teach at Yale University in New Haven, Connecticut, where he taught a one-semester course entitled "The Essential Image." Roberto Rossellini died of a heart attack aged 71 in 1977.

Legacy[edit]

Rossellini's films after his early Neo-Realist films — particularly his films with Ingrid Bergman — were commercially unsuccessful, though Journey to Italy is well regarded in some quarters. He was an acknowledged master for the critics of Cahiers du Cinema in general and André Bazin, François Truffaut, Jean-Luc Godard in particular. Truffaut noted in his 1963 essay, Roberto Rossellini Prefers Real Life (available in The Films In My Life) that Rossellini's influence in France particularly among the directors who would become part of the nouvelle vague was so great that he was in every sense, "the father of the French New Wave".

Martin Scorsese has also acknowledged Rossellini's seminal influence in his documentary, My Voyage to Italy (the title itself a take on Rossellini's Voyage to Italy). An important point to note is that out of Scorsese's selection of Italian films from a select group of directors (Federico Fellini, Luchino Visconti, Vittorio De Sica, Michelangelo Antonioni) Rossellini's films form at least half of the films discussed and analyzed, highlighting Rossellini's monumental role in Italian and world cinema. The films covered include his Neo-Realist films to his films with Ingrid Bergman as well as The Flowers of St. Francis, a film about St. Francis of Assisi. Scorsese notes in his documentary that in contrast to directors who often become more restrained and more conservative stylistically as their careers advance, Rossellini became more and more unconventional and was constantly experimenting with new styles and technical challenges. Scorsese particularly highlights the series of biographies Rossellini made in the 60s of historical figures and, although he does not discuss it in detail, singles out La Prise de pouvoir par Louis XIV for praise. Certain of Rossellini's film related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.[12] Rossellini's son Renzo is producing the Audiovisual Encyclopedia of History by Roberto Rossellini, a multi-media support containing all of Rossellini's works, interviews, and other material from the Rossellini archive. The Encyclopedia for now exists in prototype form.[13]

Filmography[edit]

Television credits[edit]

  • L'India vista da Rossellini (miniseries) (1959)
  • Torino nei cent'anni (1961)
  • L'Età del ferro (1964)
  • La Prise de pouvoir par Louis XIV (1966)
  • Idea di un'isola (1967)
  • Atti degli apostoli (miniseries) (1969)
  • La lotta dell'uomo per la sua sopravvivenza (series) (1970)
  • Socrates (1971)
  • Blaise Pascal (1972)
  • L'Età di Cosimo de Medici (1973)
  • Cartesius (1974)
  • Concerto per Michelangelo (1977)

Notes[edit]

  1. ^ The adventures of Roberto Rossellini – Tag Gallagher – Google Books. Books.google.ca. Retrieved 2012-08-13. 
  2. ^ Roberto Rossellini's Rome Open City – Google Books. Books.google.ca. Retrieved 2012-08-13. 
  3. ^ [1]
  4. ^ [2]
  5. ^ Serri, Mirella From the Odeon to the Odeon: The Experience of Roberto Rossellini from Fascism to Antifascism, Kenneth Lloyd-Jones (translator) TELOS Vol. 139 (Summer 2007): pp. 70–78.
  6. ^ Article in Italian
  7. ^ a b Bondanella, Peter. The Films of Roberto Rossellini. New York: Cambridge University Press, 1991. 16–17. Print.
  8. ^ 1950s marital scandals
  9. ^ a b "The scandal that rocked Calcutta". The Telegraph. June 1, 2008. Retrieved 2014-02-19. 
  10. ^ Joeanna Rebello (May 25, 2008). "The Girl Who Turned Rossellini's Head". The Times of India. Retrieved 2014-02-19. 
  11. ^ http://www.clemson.edu/ces/astro/NucleoArchive/PhotoList/1970s/70CRosselini1.html
  12. ^ "Cinema Archives – Wesleyan University". Wesleyan.edu. Retrieved 2012-08-13. 
  13. ^ [3]

External links[edit]