Elia Kazan on Anna Magnani: Always Fully Ready
Interview with James Grissom
New York
1993
[Anna] Magnani was always fully ready to give when she
acted. There was no emotional vanity--or physical vanity, for that matter: All
she cared to do or wanted to do or was truly capable of doing was letting you
know how she--in her unique fashion--felt and responded. It was art. You know,
that scene in Open City is so clearly the inspiration for the pivotal scene
in Sophie's Choice, when Meryl Streep must decide which child will remain by
her side and which child will be sent away to a certain death. The scenes are
not identical, but you can discern fingerprints, and Rossellini was a purist,
and his work was delivered on a brutal and piercing blade, while the director
of Sophie's Choice [Alan J. Pakula] constructed an extended, increasingly
weakening scene. I prefer Rossellini's version, because life is sickeningly
swift; the tragic and the comic arrive with stunning speed, and our emotions
are right there to save or to destroy us. And I get that in Open City, and I
always got that with Magnani.
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