Eschewing Hollywood gloss and glamour, these directors told frank tales set against the backdrop of extreme conditions. Rome, Open City is characterised by neorealism's principal traits - natural lighting, handheld camerawork and a cast composed largely of non-actors.

Rather than resulting from some kind of calculated design, the coarse and unadorned appearance of Rossellini's films was caused by a shortage of resources. Proper film stock was scarce during the war, so the director shot Rome, Open City with film he'd acquired from photographers. This gives the end result a poor definition. The use of real locations meanwhile was necessitated by the temporary closure of Cinecittà, Rome's famous film studio.

Rome, Open City interweaves the fates of a number of Romans enduring the last gasp of the German Occupation. At the centre of the film is Don Pietro, a priest who risks his own safety by aiding members of the Resistance. The other characters here include a communist who is on the run from the secret police, a pregnant young woman and a junkie whose addiction endangers the lives of those around her.

Initially conceived as a documentary, this is an engaging account of life during the Occupation. Both thrilling and moving, the film contains some surprising flashes of wit. Characteristically, Rossellini uses wipes and dissolves to ensure an unremitting pace. The taut narrative is propelled by a dynamic score composed by the director's younger brother, Renzo Rossellini.