IMDb > Mamma Roma (1962)
Mamma Roma
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Mamma Roma (1962) More at IMDbPro »

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Mamma Roma -- Anna Magnani is Mamma Roma, a middle-aged prostitute who attempts to extricate herself from her sordid past for the sake of her son.

Overview

User Rating:
7.9/10   5,042 votes »
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Contact:
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Release Date:
18 January 1995 (USA) See more »
Genre:
Plot:
After many years working in the streets of Roma, the middle-age whore Mamma Roma (Anna Magnani) saves money to buy an upper class apartment... See more » | Add synopsis »
Awards:
2 wins & 1 nomination See more »
User Reviews:
The shame and grace of a struggling mother and her son... See more (29 total) »

Cast

  (in credits order) (verified as complete)

Anna Magnani ... Mamma Roma
Ettore Garofolo ... Ettore

Franco Citti ... Carmine
Silvana Corsini ... Bruna
Luisa Loiano ... Biancofiore
Paolo Volponi ... Il Prete (Priest)
Luciano Gonini ... Zacaria
Vittorio La Paglia ... Il sig. Pellissier
Piero Morgia ... Piero
Franco Ceccarelli ... Carletto
Marcello Sorrentino ... Tonino
Sandro Meschino ... Pasquale
Franco Tovo ... Augusto
Pasquale Ferrarese ... Lino
Leandro Santarelli ... Begalo
Emanuele Di Bari ... Gennarino il trovatore
Antonio Spoletini ... Un pompieretto
Nino Bionci ... Un pittoretto
Nino Venzi ... Un cliente (A client)
Maria Bernardini ... La sposa (The Bride)
Santino Citti ... Padre della sposa (Bride's father)
Renato Montalbano ... Un infermiere (Nurse)

Lamberto Maggiorani ... Un malato (Sick man)
rest of cast listed alphabetically:
Renato Capogna ... Pimp (uncredited)
Mario Cipriani ... Thug (uncredited)
Renato Troiani ... Pimp (uncredited)

Directed by
Pier Paolo Pasolini 
 
Writing credits
(in alphabetical order)
Pier Paolo Pasolini 

Produced by
Alfredo Bini .... producer
 
Cinematography by
Tonino Delli Colli 
 
Film Editing by
Nino Baragli 
 
Art Direction by
Flavio Mogherini 
 
Set Decoration by
Massimo Tavazzi 
 
Makeup Department
Marcello Ceccarelli .... makeup artist
Amalia Paoletti .... hair stylist
 
Production Management
Eliseo Boschi .... production manager
Fernando Franchi .... production supervisor
 
Second Unit Director or Assistant Director
Carlo Di Carlo .... assistant director
 
Sound Department
Renato Cadueri .... sound mixer
Leopoldo Rosi .... sound
 
Camera and Electrical Department
Franco Delli Colli .... camera operator
Gioacchino Sofia .... assistant camera
Angelo Novi .... still photographer (uncredited)
 
Editorial Department
Andreina Casini .... assistant editor
 
Music Department
Carlo Rustichelli .... music arranger
 
Other crew
Franco Casati .... production secretary
Sergio Citti .... additional dialogue
Lina D'Amico .... script girl
Giulio De Stephanis .... cashier
Bruno Frascà .... production secretary
Mirella Gamacchio .... script girl (as Mirella Comacchio)
Vincenzo Taito .... administration inspector
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies
  • Video Dub  DVD compression and authoring (Argentina)

Additional Details

Also Known As:
Runtime:
106 min | USA:110 min | Argentina:110 min | UK:95 min (original version)
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
Argentina:16 | Argentina:18 | Argentina:13 (with warning) (re-release) | Australia:M | Finland:S | Italy:VM14 (cinema release) (1962) | Netherlands:6 | Portugal:M/12 | Singapore:PG | Spain:7 | Spain:T (DVD re-rating) | UK:X (original rating) | UK:15 (video rating) (1997) | USA:Not Rated
Filming Locations:
Company:

Did You Know?

Trivia:
At the films premiere in the Quattro Fontane Cinema (Rome, 22nd September 1962), Mr. Pier Paolo Pasolini was attacked by fascists who protested against the film.See more »
Goofs:
Miscellaneous: In the opening titles, the music that is playing over the titles is noted as "Concerto in Do maggiore di Vivaldi," which translates in English as "Concerto in C major by Vivaldi." The music actually playing is the Largo (slow) movement from Vivaldi's Concerto in D minor (catalog number RV 540)See more »
Movie Connections:
Soundtrack:
Violino tziganoSee more »

FAQ

This FAQ is empty. Add the first question.
22 out of 23 people found the following review useful.
The shame and grace of a struggling mother and her son..., 7 September 2001
Author: enicholson from Venice Beach

Mama Roma, played by an amazing Anna Magnani, desperately wants a good, respectable life for her 17 year old son, played by Ettore Garafalo. She would do anything for him. If at one time she sold her body on the streets of Rome partly as an act of rebellion against a failed marriage of convenience, she now must resume the work to raise funds to pay off a threatening former pimp (played by the cool, charismatic Franco Citti), while raising a few extra lira to get her son a few nice things on the side. She implores a priest to help her son find a decent job and does a host of other things to try and get Ettore away from the life of a hood.

The problem is that her son is like she presumably was (and is still capable of being) -- a rebellious, angry child drawn to the street life. He also, almost instinctively, falls for a young whore who may or may not resemble his young mother.

This is a great film. Pasolini cares deeply for these characters. Are Ettore and his mother a Madonna and Christ as sometime prostitute and would be criminal? Perhaps. Though their sins are not necessary for their survival, their hardships and sufferings take on a religious, martyred quality. Mamma Roma is the lost, heroic sinner of the Italian lower classes who can sometimes struggle to better themselves through respectable work, faith and redemption. But she can't do enough for herself and her son by being virtuous, so she must turn to the street on occasion. And either due to his environment or his temperament, both products of his mother, Ettore, in all his youthful impatience and vigor, can't resist the effortless ennui and easy thrills of hanging out with petty hoods, stealing from whoever they can, and dallying around with a young whore.

Rome looks and feels like a prison in this film. The city feels walled off by apartment buildings, the entrance into which feels like the entrance into an ancient city -- perhaps ancient Jerusalem. Outside the modern buildings stand patches of ancient ruins. Ettore lives his life among these overlooked, neglected ruins, which perhaps foreshadow his own future. If this is to be his future it won't be because of a lack of love and effort on the part of Mama Roma; instead it will be because of the neglect of the prison of Rome, and because of his own wild, bitter heart; the heart of a boy for which Mama Roma would devote her life.

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