Why Anna Magnani is the overlooked ‘goddess’ of Italian cinema

Less than a year earlier, Teresa Gullace, a six-month-pregnant mother of five had been shot in Rome by a Nazi soldier after she waved at her captive husband. In the film, Francesco shouts “Teresa”, as an homage. At the time, Magnani was also suffering, as her son had contracted polio.

An unconventional star 

Magnani’s communication of this raw pain on screen is perhaps one reason why she is less popular in the US today than other iconic Italian actresses. “Anna is the embodiment of a country that came out of the war with the courage of showing its wounds,” says De Bernardinis. “Soon after, Sophia Loren, Gina Lollobrigida and other ‘maggiorate’ (‘busty actresses’) represent the Italy that wants to forget the war. Florid, full bodied, flourishing.” 

Rome, Open City became the highest grossing film in Italy that year, and the first non-American film to earn over $1m in the US. The American press loved it. Magnani, The New York Times wrote, had “an ability to weep real tears, to laugh real laughter, to brawl fiercely; to be thunderous in anger, lusciously sensual in love”. Tennessee Williams tried to convince Magnani to act in his new play on Broadway – one of the many American offers she refused. “This woman, Anna Magnani, she sinks the claws in the heart,” he said.

Ingrid Bergman liked Rome, Open City so much that she wrote to Rossellini – adding that the only Italian words she knew were “Ti amo”. Rossellini, Magnani’s partner, kept the exchange secret, until she saw a telegram from Bergman. She lovingly plated some spaghetti, asking Rossellini if he would like some. When he replied yes, she answered: “Then eat it!” and threw it all at his face. This episode is recalled by friends and bystanders; the only detail that changes with the telling of the story is what pasta they were eating. In short, Magnani was intimidating. “Not cute, nor reassuring,” says De Bernardinis.