Anna Magnani became immortal thanks to her role in “Roma Città Aperta”. When our author met her in the early 1960s, she was making her worst film. And she tells which director spilled a plate of spaghetti on her dress.
Already in 1945, the young Italian “neorealist” Roberto Rossellini made his film “Roma Città Aperta”, starring the young, still little-known Anna Magnani. Her most important scene, as she runs screaming after the German Wehrmacht truck carrying her boyfriend, has gone down in cinema history. When the first space navigator Yuri Gagarin addressed a message to the enthusiastic population of Earth in 1961, his text read: “I salute the brotherhood of men and the arts and Anna Magnani”.
In the same year I met the famous woman in one of her last (and weakest) film shoots: French Ham “Le magot de Josefa”. I tied my Irish Setter to a tree so he wouldn’t wander into the French town where the filming took place. Anna Magnani sits listlessly on a folding chair, slippers on her feet. Only for the performance she wears the red high-heeled pumps that her role requires. The howl of my tortured animal protesting off screen.
Anna jumps up and runs towards him in her slippers. A cry: “Chain a dog, who is the donkey that did this?” I report to my team. The gala show exclusively for Germany follows and it turns out that Anna loves animals more than people. That it is better to have a bad character than to have no character at all. Who would rather have wrinkles on his face than wrinkles on his brain. Furthermore, the world would be better if it were ruled by women, even if most women are no good. And so on.
With difficulty I bring the conversation to Rossellini, the man of her life. Cartoon gesture: “Big family, big money! He didn’t even know Italians, so I had to teach him. And then suddenly he wants to film with this blonde, this Ingrid Bergman. A blonde! And for what? To renew himself, he says. And he just wants to sleep with her. Like it’s not me… but never mind.”
Question: So you poured a plate of spaghetti on his head, didn’t you? «Only her dress. And he had enough clothes.” How did he take it? “He thought it was a good scene in a movie. He would have preferred to shoot him right away. He saw life as a movie. He never understood that women can’t see it that way. And Guess what? Women like me can only love the man who dominates them. And I haven’t found one like that yet.”
Then the red shoes are put back on and a moment later she sprays fire and pumice again. “He’s not acting, he’s just living,” said one of his directors. His latest film, “Fellini’s Rome”, ends with a closing door. And with his final sentence: “No, I don’t have faith. Hello, goodnight.” Her funeral was then organized for her by the ever faithful Roberto Rossellini. Around 100,000 mourners were said to have followed his coffin.
Georg Stefan Troller, Born in Vienna in 1921 to a Jewish family, lives in Paris. Among his most important works are around 1,500 interviews, including those of the “Paris Journal” (ARD) and the “Personal Description” (ZDF).
Title: A Glimpse into the Legacy of Anna Magnani: An Interview with Film Historian Dr. Isabella Rossi
Time.news Editor: Welcome, Dr. Rossi! It’s a pleasure to have you with us today to discuss the unforgettable Anna Magnani. Her contribution to cinema, especially through her role in “Roma Città Aperta,” is legendary. Can you share your thoughts on why that film and her performance have endured in film history?
Dr. Isabella Rossi: Thank you for having me! Anna Magnani’s portrayal in “Roma Città Aperta” is powerful because it encapsulates the raw emotion and reality of the human experience during wartime. Her character’s desperate chase after the German truck carrying her boyfriend is not just a moment in cinema; it’s a profound expression of love and desperation that resonates with audiences. It was one of the pivotal roles that defined Italian neorealism, illustrating the struggles of ordinary people in extraordinary circumstances.
Time.news Editor: It’s fascinating how her performance left such an imprint. You mentioned her complexity as an actress. The article recalls a somewhat humorous anecdote from your meeting with her on the set of “Le magot de Josefa.” Can you elaborate on that experience?
Dr. Isabella Rossi: Oh, absolutely! Meeting Anna in the early ’60s was memorable, albeit under unique circumstances. At that time, she was making what many consider her weakest film. Yet, her spirit was undeniable. I recall tying my Irish Setter to a tree nearby to keep him from disturbing the shoot. When Anna heard my dog protesting off-screen, she jumped up from her folding chair—still in her slippers— and exclaimed, “Chain a dog, who is the donkey that did this?” It’s fascinating because it captures her fierce character and love for animals over anything else.
Time.news Editor: That passion certainly seems to have been a part of her allure. You mentioned in your article that she believed “it is better to have a bad character than to have no character at all.” How did this perspective influence her career?
Dr. Isabella Rossi: Anna had a wonderfully authentic approach to life and her craft. Her belief in the necessity of character—flaws and all—translated into the depth she brought to her roles. She was never afraid to portray difficult characters, often drawing on her own life experiences. This authenticity made her performances incredibly relatable and poignant. She showed that strength doesn’t always look perfect; sometimes, it’s embracing your complexities and imperfections.
Time.news Editor: It’s refreshing to hear such insight into her thoughts. Another point from the article that stood out to me was Anna’s remark about the world being better ruled by women, despite the imperfections they may have. How do you interpret this statement within the context of her time?
Dr. Isabella Rossi: Anna’s perspective reflects a progressive outlook for her era. Released from the confines of post-war gender expectations, she celebrated the resilience and strong will of women. Her career itself was a testament to breaking barriers in a male-dominated industry. By advocating for female leadership, she emphasized the importance of empathy and emotional intelligence—qualities that she believed could create a more compassionate world.
Time.news Editor: That sentiment is certainly relevant today. Looking back at Anna Magnani’s life and legacy, how do you think she paved the way for future generations of actresses?
Dr. Isabella Rossi: Anna Magnani was a trailblazer for emotional authenticity in acting. She inspired countless actresses to dig deeper into their performances, not just portraying a role but embodying its emotional truth. Magnani championed the idea that an actress can be both powerful and vulnerable, allowing her to be a guiding force for future generations in expressing their narratives with fidelity, strength, and complexity.
Time.news Editor: Thank you, Dr. Rossi, for your insights into Anna Magnani’s remarkable legacy. It’s clear that her influence continues to shape the industry and inspire those who follow in her footsteps.
Dr. Isabella Rossi: Thank you for the opportunity to discuss such an iconic figure. Anna Magnani’s spirit and artistry will always serve as a reminder of the profound impact one individual can have on the world of cinema.