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, a fruit stand and retires from the prostitution....
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In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »
Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »
Pier Paolo Pasolini
"La Rabbia" employs documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, ... See full summary »
Pier Paolo Pasolini
This consists of four short films by different directors. Rosselini's 'Chastity' ('Illibatezza') deals with an attractive air hostess who receives the unwelcome attentions of a middle aged ... See full summary »
In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as ... See full summary »
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, a fruit stand and retires from the prostitution. She brings her teenage son Ettore (Ettore Garofolo), who was raised alone in the country, to live with her, and Ettore becomes her pride and joy. However, the boy that does not want to study or work, joins to idle friends, has a crush on a bitch, and Mamma Roma uses her best but limited efforts to straight Ettore and make him an honest man. However, her past haunts her with tragic consequences.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
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 »
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 »
As my first Pasolini film, Mamma Roma is as good an introduction as I could have wished. The plot is terrific and heartbreaking, and the depth and range that Mamma Roma's character calls for is delivered in full by Magnani. One must only consider the two separate occasions we see Mamma walk the line after dark. What a force! Her figure attracts so many men, almost like a light in an otherwise dark night would attract insects. But none of these men can keep up with her--the past she recounts, although lightheartedly, is too troublesome a road for anyone to walk down. Indeed, she herself never finds an escape from it.
And this is the genius of Pasolini's film. That we have the two figures of Ettore and Mamma Roma, who each emerge in the film at the hour of their seeming liberation-- Mamma freed from her pimp and Ettore from his "hicks" in the country--who nonetheless crumble under the weight of history. All they are left to do is wonder, to paraphrase Ettore during the end, "why so many people are torturing (them)," when all they (Mamma Roma and Ettore) want to do is good. Existential despair that resonates today amidst grave financial uncertainty and uncertain class ascendancy.
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