3.5. Rewatch. In retrospect, the more interesting question seems to be the extent of continuity (especially in terms of the portrayal of "heroic" characters) between this and Rossellini's earlier fascist propaganda films. The whitewashing of Italy's involvement in WW2 (and of Badoglio no less) also stands out, though the choice of a Communist as one of the martyred saints is also intriguing.
1944年罗马解放后罗伯托·罗西里尼跟剧本作家瑟吉欧·阿米代（Sergio Amidei）以及一小群同行（其中包括一位名叫费德里科·费里尼的年轻记者）一起准备拍一部电影表现这座城市被德国占领时的绝望气氛该片于1945年完成并发行这就是《欧美推油》（Rome Open City/Roma città aperta；1945）虽然有时情节难免夸张但它非同寻常的直接性和十足的现实主义让它立刻获得成功不仅在意大利（从1945年到1946年它都在票房方面高居榜首）而且在欧洲其他地区和美国也同样如此 ……此后不久那个包罗甚广的术语“新现实主义”便流行开来（杰弗里·诺维尔-史密斯《沦陷调教会所(高H)(简)全文》）
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