Responseto the Three Movies
In the movie Open City, the alliance between the German Nazism and the Italian Fascism is referred to as the Axis Alliance. The Italian Fascism is represented by how people in Rome, dressed, gestured, spoke, and moved around the city in 1945. It also shows how individuals at the time longed for the occupation and resistance to be remembered always. This was namely a period of suffering at the time of injustice and violence, which had created a unified movement and the martyrs for a liberty cause. Rossellini et al. (12), one of the directors of the film, noted that further representation of remembered events provides shape to the film, while it is fabricated for the specific persuasive end. Fascism for instance is represented after the German Nazis defeat following the Paris Peace Convention of 1919.
, The Church-State relations in the movie Open Cityare not adequately represented. For instance, when the ItalianChristian government tightens its grip to power, from 1948 to1950s,the state’s neorealism moved away from Christianity. As a result,it lost its radical openness (Rossellini et al. 15). In this case,the government’s neorealism vanished. The film, in part of thepopulation, provides the sort of image that the aftermath of theMunich Agreement saw Italy demand concessions from its own Fascistleaders and the German Nazis. The sort of image that Italy gave wasthat of the Germans to finally yield to them and free the Djiboutiport and control the Djibouti-Addis Ababa railway line (Rossellini etal. 14). In addition, Italy also opposed its Fascism monopoly of theItalian merchant traffic, which was forced to pay tolls every timethey enter the canal. From the historical record, the film left outthe fact that Italy was a non-belligerent before, and that the moviereveals Mussolini communicating with Hitler that Italy was notprepared to intervene regarding the tension created by the Axisalliance.
The movie The Night of the Shooting Stars represents the Italian society during Fascism in the manner that it associates itself with the American soldiers that were rumored to be residing on the outskirts of the village. The Tuscan village, which represents the whole society, is focused on during the night towards the closing days of the 2nd World War. This is enhanced by the tragi-comic kind of war. The society is represented like an impressionable child that filters through the years of memory (Taviani et al. 14). While the movie is viewed essentially as vignettes series that combines a fact, memory, and the imagination narrated in flashback, the society is represented by a 6-year-old girl, Cecilia, who is caught at the time of the 2nd World War.
Night of the Shooting Stars also focuses on the kind ofconflict that happens in the society. For instance, lifelong friendscoming from one village are seen to struggle from different sides.One vivid scene from the movie is that one that involves a battle inthe wheat field, which is situated among the villages and theFascists. From a distant, there is a serious confrontation thatoccurs between a father, his 15-year-old son and the partisans. Inaddition, there are also poignant moments, for example, that of ayoung couple that are eagerly expecting a child. The village priestis acting like a collaborator, and there is also that of an elderlycouple trying to rekindle their love that had begun when they werestill adolescent teenagers (Taviani et al. 5). All these examplesfrom the movie are a representation of the kind of society that payshomage to Fascism and its traditional neo-realism. In addition,society’s representation also includes the kind of surrealisticmoments like that of a young girl in the movie. Sheobserves a partisan as a Greek warrior, while the Fascistthreatening her life, falls dead.
Giuliano Montaldo’s A Time to kill movie differs from Ennio Flaiano’s novel. Unlike the novel, the movie provides a certain weight, especially on Mario’s character. Again, the movie included an edited sequence towards the end, which is seen as a black and white footage. In comparison to the actual novel, the weight given to Mario and the documentary footage are additions that represent a different restraint in the movie’s scenes that offers a contrasting empire features (Montaldo et al. 19). Starting with the black and white documentary footage, the small and dark spaces where meant to differentiate between the lighting contrasts.
However, the documentary black and white footage emphasizes onopening wounds that is mirrored to inflict its own battleship damage.The sound towards the end contains certain visual disturbances, whilethere is no verbal outcry that accompanies men’s injuries. What canbe noted from these addition is that the muting of the victims’voices and also the insistence by the collective features helpcontain the melodrama. The addition, it also provides an endpoint tothe militarized masculinity screen (Montaldo et al. 21). As it isseen in the film, the plot to the World War II is largely portrayedwith such kind of additions. The weight added to Mario offers adifferent trajectory than the one, which is seen earlier in themovie. As a young generation, Mario never worked abroad, whichprovides him with apprenticeship. His lack of first-hand experienceleft him free to create his distinctive style of war narration fromwithin a common images and characterization stores.
Montaldo,Giuliano, Nicolas Cage, and Ennio Flaiano. Time to Kill. S.l.:Dutch Filmworks, 2005.
Rossellini, Roberto, Federico Fellini, Sergio Amidei, Anna Magnani,Marcello Pagliero, and Aldo Fabrizi. Open City. Chatsworth,CA: Image Entertainment, 1997.
Taviani, Paolo, Vittorio Taviani, Omero Antonutti, Negri G. G. De,and Margarita Lozano. Night of the Shooting Stars. Northcote,Vic.: Umbrella Entertainment distributor, 2009.