Stromboli - Movie Reviews - Rotten Tomatoes

Stromboli Reviews

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Super Reviewer
December 23, 2016
Rossellini scandalized the United States with this excellent and daring drama about an unfortunate woman stuck with small-minded people on a volcanic rock, and it hits us with powerful scenes that are hard to be forgotten, like the horrific tuna fishing and the volcano explosion.
September 12, 2016
Rossellini directs Stromboli w old school grit and realism which leads to some impressive sequences. Bergman gives the somewhat flat story pathos, specifically in the final act.
April 24, 2016
This is a classic film from Robert Rosellini done in his neo-realist period, it also stars Ingrid Bergman in their first film together during which they began their controversial affair. The film is a about a Lithuanian woman who marries a simple Italian man to get out of an Internment camp, and moves to his small hometown the Island of Stromboli. It turns out, this place is worse than the Internment camp for her and thus begins her downward spiral. It's a well made and influential film, but I found it to be a tough watch. Still, it's a must watch for serious film fans for its historical importance.
November 18, 2015
A raw portrayal of colliding cultures and morals that inspires deep personal questions.
½ September 13, 2015
Started good, then it came up short. Mad me want to go to their island though.
September 1, 2015
Stromboli is the weakest (in my opinion) if the Rossellini/Bergman films. This does not mean that it is not a decent film that has some important and interesting bits throughout. The editing and story are was pull this film down but the documentary styles of Rossellini's neo-realism past captured some interesting scenes.
Super Reviewer
½ August 31, 2015
Ingrid's great fall from Hollywood's graces was spurred by this flat drama and her involvement with its director. I'm sure their marriage brought her more fulfillment than this turgid exercise in neo-realism does to the viewer.
½ December 5, 2014
A great reminder of what life is like after a war. Often survivors are willing to jump out of a frying pan into the volcanic coals of life. Attitude & perspective can save a life better than money or bullets sometimes.
February 22, 2014
Another easily missable, miserable movie from Rossellini, set on the island around the volcano. The general premise isn't much, the plot isn't much fun and although I might've given it 6.75/10 for some decent volcanic effects and an earnest effort at being artistic, the horrible tuna-fishing scene and the even more horrible rabbit/ferret scene distressed and annoyed me so much I'm deducting a point. 5.75/10
½ December 30, 2013
I probably shouldn't like this movie as much as I do. The ending, and I mean just the very end is silly and overwrought (preceding this is a lovely little poem of a scene to contemplation and wonder at the world when Bergman wakes up from her delirious crying dreams) and though he's meant to be a non professional actor literally pulled out of town the main guy who marries Bergmans character just isn't that good even as a first/only timer. But Rossellinis aim here is to depict alienation in a stark form and he achieves it, with that volcano acting like another character - looming, always threatening, could and will blow at any moment and leaving those people below in a state of constant peril in barbaric terms - and the character slowly losing her shit in this predicament. Of course, it's easy to say she could have stayed in the temporary camp she was at in the start of the film (she didn't really love the guy to start with), but really this is just the kick off to what he is best at showing and what his first time star/muse/lover is so strong at portraying: bewilderment and total disillusionment for a better life following the end of ww2. Another actress could have hammed this up totally - only Anna Magnani, the original choice for the role, could have gone toe to toe - but Bergman is terrific at never having to say it but just being the smartest, least petty person on this island her new husband takes her too while he makes pittance fishing. She is tough and cynical and in another world could be right at home with Bogie. Here, when she breaks down in tears, which is more than once, it's hard not to feel for her especially as she tries to be civil and find a place for herself in this land of rubble. There's deeper existential stuff going on here, But what I appreciated was how the heaviness of the subject matter was balanced with documentary sequences (or close enough to them) Just showing the locals all fishing and getting their giant tuna and other animals. You feel like you're seeing real work that is hard not to appreciate, and yet still crouched in thks story of a woman lost with herself. That may be why the ending doesn't entirely work for me- Rossellini means for her to find redemption, but from what? Him? I dunno. and yet there's always striking imagery, and a visual force even in the seemingly simplest of shots - and to go on a volcano, Thats some Herzog shit right there.
July 8, 2013
Neo-realism and melodrama alternate to poor effect. A few captivating scenes, but only a few.
December 20, 2012
Roberto Rossellini made films that make your soul feel heavy, and this, his first film made with muse Ingrid Bergman leading the cast, may be one of his very weightiest. It's a troubling and challenging character study strictly because neither Rossellini nor Bergman give us any easy answers as to why her character, Karin, is so distraught. In many ways, the film points to the most disturbing answer of all: there is no explanation. I see Karin as a parallel to the little boy in Rossellini's earlier masterpiece, 'Germany Year Zero', and perhaps this is the product of what happens when an exit from this world just isn't possible. The tall, jagged wrecked buildings of 'Germany Year Zero' inevitably lead to the dizzying heights off which the boy sees his only solution, yet here, in this even sadder study, Karin doesn't have anything high enough to leap from- or doesn't have the courage to find anything. She constantly takes measures to try to improve her life, but even a foreign land and a husband are useless as she burrows deeper into her own sorrow. The film is thematically very heavy, and even in its brief running time it feels very, very long. Rossellini uses the minimalist structure he used with his best neorealist films but peppers this production with ironic touches thanks to the Hollywood backing Bergman enabled him to have- though he'd never get it again after this movie, despite his continued collaboration with Bergman.
December 9, 2011
I wasn't convinced by any of the characters here, they didn't bring the story to life. For instance I wanted to feel sorry for Ingrid Bergman's trapped woman, but couldn't; her complaints just sounded like endless whining.
Super Reviewer
October 4, 2011
Um dos pais do neo-realismo italiano, Roberto Rossellini atingiu o ápice de sua carreira ao retratar nas telas a face sofrida de sua amada pátria no período do pós-guerra. Com Stromboli¸ o diretor usou as lentes de sua câmera para retratar outro caso real, mas em menor escala: o drama da atriz Ingrid Bergman. Coincidentemente ou não, muito dos eventos do filme refletem o que a estrela de Casablanca, então companheira de Rossellini, enfrentava na época. Bergman chocou o mundo ao deixar seu marido para assumir o caso com o diretor italiano, o que a tornou persona não grata na América. Ela se mudou para a Itália onde fez seis filmes com Rossellini, dentre os quais Stromboli é o primeiro.

Aqui Bergman interpreta Karin, uma jovem que, para fugir de um campo de concentração, se casa com um humilde pescador italiano (Mario Vitale) e vai morar na ilha vulcânica de Stromboli, ao norte da Sicília. Karin logo encontra uma série de dificuldades em sua nova vida, tendo que lidar com as barreiras do idioma e com a hostilidade do público local que a acusa de adultério - do mesmo modo que Bergman teve que se adaptar ao novo país e ainda fugir da perseguição da sociedade. As comparações não param por aí. Assim como sua personagem sai de um mundo de classe alta para uma vida de miséria ("de um extremo ao outro", como ela diz), a atriz também trocou os estúdios de Hollywood por filmes rodados em locações feitos sob baixos orçamentos. No final das contas, a mudança lhe foi positiva. A Ingrid Bergman dirigida por Rossellini se desarma de alguns artifícios melodramáticos que marcam certas atuações suas em filmes americanos, criando uma caracterização mais naturalista que vai ao encontro do estilo dos demais atores de Stromboli (em sua grande maioria não profissionais). A falta de maquiagem e de iluminação artificial apenas contribui para realçar sua beleza natural.

Mesmo em um drama mais intimista, o diretor se mantém fiel aos dogmas do neo-realismo ao retratar a vida sofrida dos pescadores da ilha que, além da miséria ainda vivem sob a mercê da fúria da natureza. Ao lado do diretor de fotografia Otello Martelli, Rossellini captura em filme dois poderosos momentos: os pescadores exercendo seu ofício em alto mar e o poderoso vulcão em erupção. Mas no final das contas, o filme realmente pertence à Ingrid que, mesmo em um papel atípico e egoísta, não deixa difícil perceber o porquê de o diretor estar apaixonado por ela.
August 16, 2011
Fairly depressing film. Ingrid Bergman, a Lithuanian refugee, escapes an internment in the aftermath of World War II and marries an Italian, who takes her to Stromboli. There, she is miserable and tries escape the island through a port on the opposite side of the island. Much suffering throughout, but only a small satisfaction for the viewer. The scenery is at least nice to look at, but the premise and ending are relatively problematic. "Rome, Open City" it's not! Not a great film for Rosselini nor lengendary actress, Ingrid Bergman.
½ July 2, 2010
Ingrid Bergman impulsively marriages a man she barely knows. He takes her to a barren, remote volcanic island populated by backwards, judgmental assholes. Oh, and he turns out to be a jealous, abusive dickhead. But Bergman herself is not entirely sympathetic... she's whiny and demanding. The lack of a character to attach yourself to makes the film difficult, but I enjoyed it nonetheless. Rossellini shoots it magnificently, particularly during the fishing and eruption scenes. And I found myself rooting for Bergman despite her flaws. Someone on iMDB compared it to Man of Aran and Breaking the Waves, a description I think is fairly apt. I'd throw a little Bunuel in there, perhaps... something like El Bruto. An interesting and often beautiful film, although I still don't think Rossellini lives up to his reputation.
October 10, 2009
a cena da pesca aos atuns é pura performance. BRAVO.
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