Stromboli, also known as Stromboli, Land of God (), is a 1950 Italian-American film directed by Roberto Rossellini and starring Ingrid Bergman. The drama is considered a classic example of Italian neorealism. Plot Bergman plays Karin, a displaced Lithuanian in Italy, who secures release from an internment camp by marrying an Italian ex-POW fisherman (Mario Vitale), whom she meets in the camp. He promises her a great life in his home island of Stromboli, a volcanic island located between the mainland of Italy and Sicily. She soon discovers that Stromboli is very harsh and barren, not at all what she expected, and the people, very traditional and conservative, many fishermen, show hostility and disdain towards this foreign woman who does not follow their ways. Karin becomes increasingly despondent and eventually decides to escape the volcano island. Cast Ingrid Bergman as Karin Mario Vitale as Antonio Renzo Cesana as The Priest Mario Sponzo as The Man from the Lighthouse Gaetano Famularo as Man with Guitar Angelo Molino as Baby, uncredited Most villagers are played by actual people from the island, as is typical of neorealism. Background The film is the result of a famous letter from Ingrid Bergman to Roberto Rossellini, in which she wrote that she admired his work and wanted to make a movie with him. Rossellini and she set up a joint production company for the film, Societ per Azioni Berit (Berit Films, sometimes written as Bero Films), and she also helped Rossellini to secure a production and distribution deal with RKO and its then owner, Howard Hughes, thus securing most of the budget together with international distribution for the film. Originally, she had approached Samuel Goldwyn, but he bowed out after having seen Rossellini's film Germany, Year Zero. The terms of Rossellini's contract with RKO stated that all footage had to be turned over to RKO, which would edit an American version of the film, based on Rossellini's Italian version. However, the US version was eventually made without the director's input. Rossellini protested, and claimed that RKO's 81-minute version was radically different from his original 105-minute version. Rossellini obtained support from Father Félix Morlión, who had been involved in the screenwriting. He sent a telegram to Joseph Breen, director of MPPDA's Production Code Administration, urging him to compare the original script with the RKO version, as he felt that the religious theme he had written into the