14. Mamma Roma (1962), dir. Pier Paolo Pasolini
Saturday, 19 May 2007 22:23![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
strange_complexIMDb page here, Wikipedia page here, rather good article about it here. Watched at home on a DVD borrowed from the Edward Boyle library.
Pasolini's name comes up quite a lot in the context of high-quality Italian cinema, but this was my first experience of him. Like Ieri, Oggi, Domani, I had to watch it without English subtitles, because it didn't have any, but with the Italian ones to help me, I think I managed well enough to at least follow the plot - though I'm sure there were subtleties of the character interactions that were lost on me.
In essence, Mamma Roma is a prostitute, who's retired from business, collected the son she'd borne years before in a marriage of convenience from the country, brought him to a new housing development in Rome, and is trying to support the two of them by selling vegetables on a market-stall. The son, Ettore, however, is awkward, innocent and directionless - a fatal combination, given the shady (yet also curiously innocent) characters who hang around on the waste ground opposite the housing estate. Her efforts aren't enough to save him from a downward spiral which culminates in his death under restraint in a secure hospital, after being convicted of stealing a radio.
Of course, she is the city - its faded past glories rendered particularly visible by broken aqueducts crossing the wasteland where the youths wander - and he is its post-war, post-Fascist youth. But it's not actually as gauche as that makes it sound. There's a lot of symbolism going on - particularly Christian stuff surrounding the figure of Ettore as a sort of doomed anti-Messiah, but also some interesting hippy-ish things about his instinctive affinity with nature and the 'earthy' barefoot young prostitute, Bruna, with whom he becomes besotted. Yet it also 'works' as a straightforwardly moving story of a struggling mother and dysfunctional son, and as a view into early '60s Rome. And Anna Magnani (also of Roma, Città Aperta fame) is absolutely crackling as the title character!
Not sure it's inspired me to trace Pasolini's work further - but it's certainly given me a sense of what all the fuss is about.
Pasolini's name comes up quite a lot in the context of high-quality Italian cinema, but this was my first experience of him. Like Ieri, Oggi, Domani, I had to watch it without English subtitles, because it didn't have any, but with the Italian ones to help me, I think I managed well enough to at least follow the plot - though I'm sure there were subtleties of the character interactions that were lost on me.
In essence, Mamma Roma is a prostitute, who's retired from business, collected the son she'd borne years before in a marriage of convenience from the country, brought him to a new housing development in Rome, and is trying to support the two of them by selling vegetables on a market-stall. The son, Ettore, however, is awkward, innocent and directionless - a fatal combination, given the shady (yet also curiously innocent) characters who hang around on the waste ground opposite the housing estate. Her efforts aren't enough to save him from a downward spiral which culminates in his death under restraint in a secure hospital, after being convicted of stealing a radio.
Of course, she is the city - its faded past glories rendered particularly visible by broken aqueducts crossing the wasteland where the youths wander - and he is its post-war, post-Fascist youth. But it's not actually as gauche as that makes it sound. There's a lot of symbolism going on - particularly Christian stuff surrounding the figure of Ettore as a sort of doomed anti-Messiah, but also some interesting hippy-ish things about his instinctive affinity with nature and the 'earthy' barefoot young prostitute, Bruna, with whom he becomes besotted. Yet it also 'works' as a straightforwardly moving story of a struggling mother and dysfunctional son, and as a view into early '60s Rome. And Anna Magnani (also of Roma, Città Aperta fame) is absolutely crackling as the title character!
Not sure it's inspired me to trace Pasolini's work further - but it's certainly given me a sense of what all the fuss is about.
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no subject
Date: Sunday, 20 May 2007 00:24 (UTC)no subject
Date: Sunday, 20 May 2007 09:38 (UTC)Well, now I know two more titles to look out for, then!