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Good story, Not enough for a whole film

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

A remarkable film: emotional and austere, dark and shattering, quick, packed with absolute silence along with peoples' busy chatter. Ordinary, beautiful, & awful. It is profoundly atmospheric & deliciously gets under the viewer's skin: the dark winter, fog, cold, hiding, people in corners, against walls, stuck in rooms, against windows, under shadowy arcades, a night that seems like day and a day that's never fully lit. And yet the story is straightforward, not forced,nor intellectually pretentious. "A" goes to "b" goes to "c" with knife-edge clarity. At the center of the plot is a kind of Romeo-Juliet love story. Beautifully complemented by the film's last few minutes -- a shot to the present of 1960 -- which makes that past of 1943 all the more fascinating and horrible. Simultaneously remote and intimate; inescapable. A work of genuine cinematic substance & recognized as such in Europe: where it won "Lion d'or" and for which a young Pier Paolo Pasolini worked on the script. Plus it's profoundly Italian: aware of the crimes, the sins of the recent war, the inescapable pressures and violence of politics and class. And aware that people can only do so much. There is no escape. Everyone is at the mercy of larger forces. Why do people need to see zombie films when there is story, there is history, like this of such exquisite and unforgettable, unforgivable cruelty? This is a film to preserve, remember, study, and, perhaps, even learn from.

One of the best film of Italian movie history since its foundation and therefore one of the best movies ever made. Astonishig debut by movie director Florestano Vancini, who was unfortunately never able to go even near this gifted artwork for the rest of his career. Working on a powerful story by Italian novelist Giorgio Bassani (The Garden of The Finzi-Continis, The Golden Glasses). For the impressive effort of the cast, all of them taking their respective role characters to epic proportion (while being extremely real and human), and for the black and white photography of night and day war-time Ferrara which reminds sometimes the Vienna of the Third Man by Carol Reed, it is much superior to Rossellini's Open City and General Della Rovere. It is certainly not strange but still remarkable that the terrible WWII Italian experience has inspired such cogent insight of the human condition. For its immediate impact the movie can be compared to "Two Women", for its complexity it is certainly superior. To be listed among the hall of world's masterpieces.