Mamma Roma

Just wanted to point out that in the final scenes, Pasolini shows Ettore in jail (for stealing), strapped to a table, and it's very much like Andrea Mantegna's painting, "The Dead Christ." This might say a lot about what Pasolini thought about Christ's crucifixion, and how we might view Mamma Roma the whore and her son Ettore (perhaps not as mother and son, but as Mary Magdalene and Christ?). This final scene also makes one recall how the opening scene, the marriage of Carmine (the pimp) and his bride, looks so much like DaVinci's painting, "The Last Supper"... and so the film opens with a visual reference to Christ the pimp before he dies, and ends with one of Christ the thief after he dies.

So many things about this film have elements of the story of Christ, only they're turned on their head. Ettore's relationship with the loose woman Bruna, his familiar dealing with moneylenders, his lazy and thieving followers, his lack of a trade, his stealing -- it's as if he's the opposite of Christ. And yet Ettore is blessed: he's rooted in nature (he grew up on a farm, he recognizes birds by their songs, acts spontaneously on his natural feelings of anger or lust) and he's set within a story that's essentially about the power of morality and redemption. Mamma Roma is a flawed woman but a good woman who's trying to do the right thing, to mend her ways. And Ettore is not so much an anti-Christ as he is a proto-Christ -- a pre-Christian figure. The film 'Mamma Roma' may have more to do with being a pagan story than a Christian one...

"Mamma Roma"(1962) the second film directed by Pier Paolo Pasolini, is the brutally realistic in its depiction of life in the slums of Rome yet lyrical ode to mother's love. Mamma Roma (Anna Magnani), a middle-aged prostitute is ready to quit her profession and to start a new life with her teenage son who had spent his childhood in the country and does not know her well. She wants a better life for herself and a meaningful future for her son, and there is not much her Mamma Roma would not do for her son. Things don't go as planned, though...

Anna Magnani was renowned for her earthy, passionate, "woman-of-the-soil" roles and she is one of the main reasons to see the film. She is Rome's flesh and soul, its spirit and symbol, its loud laugh and bitter tears.

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.

"Mamma Roma", the second movie of Pier Paolo Pasolini, is an impressive, cruel, touching, riveting realistic drama. Anna Magnani has an awesome performance in the role of a limited mother trying to live an honest life and give the best for her son. Franco Citti has a short, but also fantastic acting in the role of a nasty pimp. In times when Hollywoodian fairytale world prevails in most worldwide movie theaters and rentals, it is good to revisit the real world in this unforgettable gem. My vote is eight.

Title (Brazil): "Mamma Roma"

Mamma Roma(1962) is one of the best films to come out of Italy during the 1960's. Anna Magnani is terrific as a strong willed mother who wants to give her son a better future to look foward to by living in the city. Its a homage to the neo-realist classics of the late 40's and mid 50's. In fact, this film compares greatly with some of the early films by De Sica and Fellini. Mamma Roma and his previous film added on another facet to the multi talented, multiple artist Pier Paolo Pasolini. The movie is filled with many political and religious ideas that the director believed in.

Mamma Roma(1962) deals with the themes of betrayal, loneiness, and class status. The film has a nililistic feel to it when it comes to the youth of the story. There are parts of this motion picture that reminded me of Luis Bunuel's Los Olvidados. They both see the youth as people who have nothing to look foward to. Its the opposite of a coming of age story because nothing positive happens to the teen protagonist. The direction by Pasolini is well done as he showed that he was on his way to becoming one of the most important film makers in Italy during the late 20th Century.

It contains some poetic moments. Its a film that doesn't get much credit due to the bleak nature of the main characters. Its this sense of hopelessness that turned many viewers off to this movie in 1962. It was rereleased in its full version several years ago by Martin Scorsese' film company. The film is a class study of people who try to escape their old ways only to be unsuccessful in the attempt to turn over a new leaf. The art direction was done by future director Flavio Mogherini.

Ettore Garofolo does a good job in the role of Ettore, Mamma Roma's son. Anna Magnani is wonderful at alternating between motherly and sensual instincts. In 1962, Mamma Roma was denounced by the police to the Magistrate's office for its portrayal of the young teens. The case was eventually dismissed. One scene that was good is the scene where Mamma Roma shows her son what's its like to be respectable. Another memorable moment is the final shot of Magnani attempting to jump out the window.

Ettore is presented as a martyr in the vein of a religious symbol. His final scenes are both heart breaking and sad. Although Mamma Roma is a prostitute, she still in a awkward way has a moral consciousness that gradually develops throughout the movie. Her ideology is developed through the mass media. What's sad is that Mamma Roma does not realize that her ideals are corrupted until she feels that she has failed in her relationship with her son. Pasolini believed that "The only thing that makes man really great is the fact that he will die", and "Man's only greatness lies in his tragedy".

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.