Less than a year later, Teresa Glass, a six-month pregnant mother of five, was shot in Rome by Nazi soldiers after waving to her prisoner husband. In the film, Francesco screams “Teresa” as a homage. At the time, Maganani was suffering as her son had signed a contract with polio.
An unconventional star
Magnani’s communication with this raw pain on screen is probably one of the reasons why she is less popular than other iconic Italian actresses in the United States today. “Anna is the courage to show wounds and the embodied nation that emerges from the war,” says de Bernardinis. “Suddenly afterwards, Sofia Lauren, Gina Lorobrigida and other “magiolates” (“busty actresses”) represent Italy who wants to forget about the war. Florid, full body, prosperity. ”
Rome, Open City, became Italy’s highest gross film that year, and the first non-American film to earn over $1 million in the US. The American media loved it. The New York Times wrote Mageni “had the ability to cry real tears, laugh real laughter, and brawl violently. Sweetly and sensually love to thunder with rage.” Williams, Tennessee, tried to persuade Maganani with a new play on Broadway, one of the many American offers she rejected. “This woman, Anna Mageni, she sinks her nails in her heart.” He said.
Ingrid Bergman liked Rome in the Open City, so she wrote to Rossellini. Magnani’s partner, Rossellini, kept the exchange a secret until Bergmann saw the telegram. She lovingly plated some spaghetti and asked Rossellini if she wanted him. When he replied “Yes,” she replied: “Then eat it!” and threw it all into his face. This episode is recalled by friends and bystanders. The only detail that changes with storytelling is the pasta they were eating. In short, Mageni was intimidating. “It’s not cute or safe,” says de Bernardinis.
Source: BBC Culture – www.bbc.com
