6.3/10
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Mother's Heart (1969)

Cuore di mamma (original title)
Lorenza has three young children who are victims of a media who wishes to turn out terrorists. She contends with her monstrous offspring and student revolts until she can't take it anymore.

Director:

Salvatore Samperi

Writers:

Salvatore Samperi (story), Sergio Bazzini (story) | 2 more credits »
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Cast

Cast overview, first billed only:
Carla Gravina ... Lorenza
Beba Loncar ... Magda / Andrea's sister
Philippe Leroy ... Andrea / Lorenza's ex-husband
Yorgo Voyagis ... Carlo / the bearded revolutionary (as Yorgo Voyatgis)
Paolo Graziosi ... Mariano / revolutionaries' leader
Mauro Gravina Mauro Gravina ... Massimo / son
Monica Gravina Monica Gravina ... Anna / daughter
Massimiliano Ferendeles Massimiliano Ferendeles ... Sebastiano / baby son
Valentino Orfeo Valentino Orfeo ... Cesetti / the bookseller
Sara Di Nepi Sara Di Nepi ... The Revolutionary Girl
Massimo Monaci Massimo Monaci
Rossano Jalenti Rossano Jalenti
Nicoletta Rizzi Nicoletta Rizzi ... Eleonora / Andrea's wife
Roberto Bruni Roberto Bruni ... Il Professore
Rina Franchetti Rina Franchetti ... Berta / nanny
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Storyline

Lorenza, divorced from her rich husband, has three restless children. She lives listlessly and ends up in a strange relationship with her sister-in-law. In the meantime her 10-year-old eldest son, Massimo somewhat disturbed, kills the youngest son, tortures the housekeeper and eventually kills his little sister. Meanwhile she has joined a revolutionary group of objectors, who by means of violence want to rouse the proletariat from its lethargy. Her son now tries to frame his mother for the death of his brother and sister. But this time the mother reacts, causing her son's death. At this point she starts to prepare explosives for her cause and with satisfaction blows up the factory of her bourgeois ex-husband.

Plot Summary | Add Synopsis

Genres:

Drama

Parents Guide:

View content advisory »
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Details

Country:

Italy

Language:

Italian

Release Date:

8 February 1969 (Italy) See more »

Also Known As:

Ana Yüreği See more »

Filming Locations:

Roma, Lazio, Italy

Company Credits

Production Co:

Produzione Doria See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Italian censorship visa # 53089 delivered on 17-1-1969. See more »

Connections

Referenced in The Place Beyond the Pines (2012) See more »

Soundtracks

Piccolo uomo
Written by Vitavisia - Ivan Della Mea
Performed by Paolo Ciarchi
See more »

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User Reviews

 
MOTHER’S HEART (Salvatore Samperi, 1969) **1/2
22 August 2008 | by Bunuel1976See all my reviews

Curiously enough, I became aware of this movie through its music score: as part of my two-month film-making course in Hollywood in late 2005, I chose to accompany my final project with pieces culled from a CD compilation featuring some of Ennio Morricone’s oddest soundtracks – entitled “Crime & Dissonance”; a good deal of music that I ended up using came from this obscure little item, which back then I thought was a sentimental family drama. Some months ago, it turned up on late-night Italian TV and I took the opportunity to tape the broadcast; having watched the film now, I can say that MOTHER’S HEART is nothing like what I expected it to be!

Indeed, it’s most unusual – and the whole is rendered even stranger by Morricone’s fantastic (and intricate) compositions: the protagonist is a divorced mother (Carla Gravina, still best-known perhaps for playing the possessed lead in THE ANTICHRIST [1974]) of three who may or may not be a mute; we’re never actually told, but the fact remains that she doesn’t utter a single word during the course of the film (and yet people around her seem to act as if awaiting her reply)! While the children are cared for by a cantankerous old maid, she works at a bookshop – however, the heroine’s also involved somehow with a group of revolutionaries. Incidentally, the kids are far more knowledgeable than their years (in the very opening scene, they’re engaged in ‘professional’ tattooing on each other!) – the eldest, in particular, is himself keen on politics and bio-chemistry (he’s obsessed with firing a rocket); it was amusing but, at the same time, weird to hear him accuse his three year-old sibling of being a Communist (which the latter vehemently denies)! And it seems that the precociousness of Gravina’s children is not an isolated case, either, as another mother seeking new reading material at the bookshop for her kid (who, she says, is over the traditional Children’s Classics such as “Treasure Island” and “Around The World In 80 Days”) is suggested De Sade’s “Justine” since it’s the story of a little orphan girl!

Things get even more out of hand: as the mother drifts farther away from her job (eventually being sacked) and duty at home into outright terrorism, the kids come up with their own violent ‘games’ – first by killing their pet cat when, as passenger of the rocket during its test flight, the ‘launch’ backfires and the rocket explodes; then, when the toddler is tragically drowned in the bath-tub! During the funeral (also attended by the father – an underused Philippe Leroy – and his new companion, who’s actually good friends with Gravina!), the eldest son sadistically reads aloud from an encyclopedia the effects of such a terrible death. Later on, after the remaining kids spend some time with Dad (only to embarrass him in front of guests by playing a clandestine recording of his love-making the night before!), the sister also perishes at the hands of her intellectual sibling via a deliberate leakage of gas – which he’s personally able to endure by wearing a self-constructed gas mask!! The mother, then, is forced to take stock of the situation: left alone with the boy – who actually blames her for the two previous deaths (not an entirely unfounded accusation, given her chronic aloofness) – she blows him up while he’s fiddling yet again with the rocket! After this, it’s back to the revolution – except that her former companions have started to disperse: however, by now, the heroine’s learned how to assemble a bomb by herself…with the obvious target being her ex-husband’s pharmaceutical factory!

I’m sure that even from the above synopsis, one is able to grasp just how bizarre this film is; for the record, the only other Samperi effort I’d watched was THANK YOU, AUNT (1968) – which was itself fairly disturbing in view of the incestuous sado-masochistic central relationship and a finale promoting euthanasia! Apart from Morricone’s delightful contribution (frequently providing ironic counterpoint to the on-screen events), the anchor here is clearly Gravina – despite the inherent difficulty in playing a character who’s basically a cipher; incidentally, her rapport with the kids is genuine since the elder couple are the actress’ real-life off-springs! Besides, the film contains a surreal quality to it – which is positively winning…though it’s all eventually worn down by the excessive political rallying.


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