Mamma Roma

Mamma Roma is the second film by Pier Paolo Pasolini realized in 1962 . It follows Accattone realized in 1961 and has extended the wave of neo-realism of Italian 1950s .

Summary

 * 1 Overview
 * 2 Distribution
 * 3 Data Sheet
 * 4 Analysis
 * 4.1 A neorealist movie
 * 4.2 Processes filmic
 * 4.3 Decor
 * 4.4 Religion and painting
 * 4.5 Music
 * 4.6 Characters
 * 5 Notes and references
 * 6 External links

Synopsis [ edit | edit the code ]
Mamma Roma, Roman prostitute forty years thought to be released from his young pimp, Carmine and tries to rebuild his life. She takes him to her son, Ettore, who ignores his past and raised in Guidonia Montecelio few kilometers from Rome. They moved into the apartment of a new city district of Don Bosco it ideal dream. Mamma Roma is now working as a sales clerk in a small market via Tuscolana, full of hopes for Ettore and new life begins. Ettore met the other teens in the neighborhood, lurking in the empty lot in front of the city, under a blazing sun ...

Distribution [ edit | edit the code ]

 * Anna Magnani : Mamma Roma
 * Ettore Garofolo Ettore
 * Franco Citti : Carmine
 * Silvana Corsini : Bruna
 * Luisa Loiano : Biancofiore
 * Paolo Volponi : the priest
 * Luciano Gonini : Zaccaria
 * Vittorio La Paglia : Pellissier
 * Morgia Piero Piero
 * Lanfranco Ceccarelli : Carletto
 * Marcello Sorrentino Tonino
 * Sandro Meschino Pasquale
 * Franco Tovo Augusto
 * Pasquale Ferrarese : Lino
 * Leandro Santarelli : Begalo
 * Emanuele Di Bari : Gennarino il trovatore

Data Sheet [ edit | edit the code ]

 * Original title: Mamma Roma
 * Written and Directed by: Pier Paolo Pasolini
 * Images: Tonino Delli Colli
 * Sound: Renato Cadueri and Leopoldo Rosi
 * Art Director: Flavio Mogherini
 * Designer: Massimo Tavazzi
 * Producer: Alfredo Bini
 * Black and white
 * 110 min
 * Year: 1962

Analysis [ edit | edit the code ]
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A neorealist movie [ edit | edit the code ]
Pier Paolo Pasolini borrows themes neorealism: wandering the wasteland of landscapes, buildings in ruins, the characters, the pimp, the prostitute, the teen idle and the choice of black and white which accentuates the sadness and coldness of a miserable life without color, which has no taste. Pasolini highlights this reality by filming long periods where there is virtually nothing going on, the actual time it would take a minor action or freezes close up on faces to capture all the emotions. The viewer is in contemplation with empty moments, often corresponding to wandering teenagers in vacant lots.

The director sees the film as another element of expression as well as writing, music or drawing, which reflects the language. He describes the image of "written language of reality" and even said "cinema allows me to maintain contact with the real, physical contact, carnal. And this reality is engaged in the very act of filming, which lays bare the daily reality. "There is a desire in the way of filming, you forget the camera, as if the eye watched by himself daily altogether. Will almost documentary to show things as they are. For Pasolini, the human being as simple he may be, is cinematographic work by its very existence, life is a natural film, a universal language. For him, the lighting, sound, scenery, characters must appear real and nothing is touched. In Mamma Roma, Anna Magnani plays his role with a time of free improvisation (dance sequence with his son, fall of the two characters and laughter not edited out).

Filmic processes [ edit | edit the code ]
The director uses many tracking shots of the film; a rear accompanies the night walk Mamma Roma, in the suburbs, from prostitutes, sex with the lights on the back of the ubiquitous city. The camera follows the winding course of Mamma Roma who in his drunkenness plunged into a monologue of redemption, the characters deal, walk by his side and then disappear into the night, to be replaced by others. This supports the traveling atmosphere of Roman nights, anime action reveals the influence of Mamma Roma (always on top in center of frame) in this environment that gradually withdraw this almost surreal parallel world, debauchery and prostitution as caught by an invisible force.

Decoration [ edit | edit the code ]
Aerial view of Don Bosco neighborhood and San Giovanni Bosco Basilica .

The decor plays an important role in the film: one side residential buildings of the modern city of Don Bosco area in full development at that time, the other vestiges of ancient Rome, especially aqueducts Park and the aqueduct of the Aqua Claudia . The San Giovanni Bosco Basilica, built from 1952 to 1964, has on many outdoor plans as a guardian and permanent element symbolic, but is not used for church scenes shot in the studio. At the center of these areas takes place most of the film in a world where the margins alongside the underclass. In parallel, the city appears oppressive, devastating that engulfed the man. Pasolini made the trial of the Company and its classes. The final scene is very eloquent and well highlights the power of the force of the urban city. When such telepathy, Mamma Roma feels the agony of his son who calls in vain. It collapsed embarks on a wild ride down the window of his apartment and when narrowly retained by her neighbors she throws a silent and dazed look on this impassive suburbs. The reality finally jumps to his eyes revealing perhaps his failure to deal with the devastating power of this city and the way it treats each.

Religion and painting [ edit | edit the code ]
The director passion early on by the image of Christ on the cross, said: "I seek Christ among the poor." In the final scene, lorsqu'Ettore is attached to the restraining bed, the plan evokes the table Lamentation of Christ of Andrea Mantegna . The body being filmed in traveling to point the perfect symmetry of the body as points on the board and each member to feel the pain of torture. The cry he launched calling his mother and redemptive value Christ, return to the matrix at the end of his life.

Moreover, the film begins with a supper (wedding ceremony around a table in a horseshoe), reconstruction of Leonardo da Vinci painting .

Music [ edit | edit the code ]
Passionate about music, Pasolini devoted a significant place in his films. Throughout the film, the music accompanies the scenes, including a concerto of Vivaldi in strong opposition to this dehumanized world: Pasolini does not believe in the need for consistency between image and music. In the final scene, this very powerful music, which brings out the anger and the injustice of the situation described, highlights the tragedy of the scene rather than the sadness of death.

Characters [ edit | edit the code ]
In the aftermath of the Second World War, the cinema has to deal with scarce resources. Pasolini concedes there by hiring professional actors capable streets This constraint reinforces the effect of reality advocated by the director. Moreover, a key figure in the film, Anna Magnani known for his role in Rome, Open City, film Roberto Rossellini , gives the film its uniqueness. Temperamental character, very assertive, she embodies the image of a woman who struggles imprisoned by a tragic fate. Very popular Pasolini which also composed a poem in his honor referring to the last scene of the film: "Almost an emblem now Magnani's cry, Deputy wicks absolute mess, Resound in desperate pan, and its sharp glances and dumb, Concentrate sense of tragedy " .