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“... realism since the Second World War flourished in Italy. With Open City (1945) and Paisan (1946) Roberto Rossellini ushered in the movement that came to be known as neo-realism. Unlike Stroheim’s, his is not a realism of meaning but of reticence, of the refusal to compel reality into sense. Tag Gallagher’s biography of ...”

“... The two characters at the centre of Rossellini’s Journey to Italy, seen in a restored print at the BFI Southbank, are so nasty to each other in their half-polite way that you long for them to flare up, throw things, become violent, turn the film into the melodrama it seems to want to be. They don’t, though. When they agree to divorce it’s as if they were ordering a meal in a restaurant they don’t like; and when they embrace at the end of the movie in a notional reconciliation, a rediscovery of their supposed affection for each other, it’s even worse ...”

“... referring to the world-shattering scandal of 1948, when she bolted Hollywood to run off with Roberto Rossellini, leaving her husband (a Swedish doctor), her young daughter and her place as the world’s most successful and virtuous film star. It couldn’t, could it? she pleads winsomely. Certainly many of the elements in the Bergman-...”

“... role. The Surrealists were great, if eccentric, cinephiles, but the leading Neorealists – Roberto Rossellini, Luchino Visconti and Vittorio De Sica – were professional filmmakers. The novelist Cesare Pavese went so far as to compare De Sica, perhaps ironically, with Thomas Mann, as the author of a national narrative. Had movies superseded ...”

“... The allusion is to the American public’s surprise when it learned of Bergman’s affair with Roberto Rossellini, but the very idea of a Bergman among comedians is outlandish, in part, of course, because none of this is true: many people thought Allen was funny, but no one imagined he was a saint, or cared whether he was or not – and in part ...”

“... Italian and made friends with a group of screenwriters that included Klaus Mann, Fellini and Roberto Rossellini. Between shifts showing soldiers round the museums, they would work on movie scripts at black-market trattorias. By some accounts, Hayes collaborated on the screenplay of Bicycle Thieves and he certainly wrote one section of the screenplay ...”

“... brings his ‘sore ass’ into linguistic contiguity with his dinner companions Ingrid Bergman and Roberto Rossellini: ‘Bergman-Rossolini [sic] rushes – disappointing – sore ass – we all went to Quirinale afterwards. Nobody even seemed to notice Ingrid was there – May leave for Capri tomorrow if the condition of my ass hole permits – Wrote a ...”

“... Anna Magnani, who set up the production as a spoiler against Stromboli (which her former lover, Roberto Rossellini, was shooting on a neighbouring rock with Ingrid Bergman), were challenged. The screening at the Italian Cultural Institute, attended by Muriel Walker, who had been part of the production, and who brought a spellbinding sense of ...”

“... decision to give up a lucrative Selznick contract ‘to go to Italy to make a film with Roberto Rossellini, because she believed in his startling neo-realist ways’. Unlike Bergman, though, Kidman is not ‘a wreck through and through’. She ‘is a cover girl, too, and someone who should know that whenever a film earns just $150,000, it ...”

“... chronicle of not-saying, arcane rituals of grazing and trouser-changing unmatched since Roberto Rossellini made The Taking by Power by Louis XIV for French television. Triggered by an archive clip of his maternal grandfather, Herbert Morrison, another ennobled socialist cabinet minister, Mandelson launched into a memoir of cycling around ...”

“... at sea in the new Germany. Klaus began to work in films, collaborating briefly and painfully with Roberto Rossellini. Someone who worked with him in these years said: ‘He was a restless man. He had so many ideas and so much energy . . . I don’t think he could sit still for two minutes. He had a cigarette perpetually in his mouth and was in constant ...”