Mamma Roma

One of the early Pasolini, Mamma Roma is a forgotten gem of Italian cinema. Some pleasant surprises in this underrated movies, like the amazing performance of `mamma roma' -Anna Magnani , and the MUSIC, mostly classical!!! I can relate this movies with some work done by Vittorio de Sica , but is not so neo-realist, even though sometimes you feel like it is. Symbolism, a very dear approach of later Pasolini's work is present here as well, and we can even see this movie as a Greek tragedy, leaving the viewer's many options to explore. Overall, a well deserved 8.5/10.

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.

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.

Mamma Roma could be Pasolini's best film. Well, perhaps I shouldn't judge that right now. I have seen two others, Salo, which I quite like despite its being the vilest film ever made, and The Gospel According to Matthew, generally considered his best film. I love that one, as well. But, as much as I loved those two films, they didn't envelope me like Mamma Roma did.

Anna Magnani plays the titular character, an aging, plump, and earthy whore. Her pimp has retired and let her go, so Mamma Ro' runs off to the country to gather up her teenage son. The backstory of the son is left obscure. Apparently Mamma Ro' left him with some relatives or something like that. Her son, Ettore, is excited to move to Rome, but he is not sure whether he trusts his mother. She has abandoned him for most of his life presumably (one of the great gifts that Pasolini has in this film is that he never spells anything out, but just suggests and implies a lot).

The film shifts between Mamma Ro' and Ettore. Ro' is running a respectable fruit stand, although she likes to hang around all of her friends who are still prostitutes and pimps. Probably the most memorable shot of the film occurs when Ro' walks down the streets of rural Rome at night. The camera moves backwards on a dolly, and Ro' is constantly walking towards it. Her friends approach her, talk with her and walk with her a while, only to drop back. A few seconds later, a new companion will walk up next to Ro' and walk beside her, talk with her. There are actually two scenes with this shockingly beautiful technique, used at strategic points of the film. Mamma Roma cares about her son more than anything. She is a good mother, or at least she is overly determined to be one.

Ettore, on the other hand, lives a life of boredom. School does not interest him, nor does work. He would rather hang around with all the local hoodlums and the local tramp who lives down the street. He wanders around amongst the ruins of ancient Roman city walls. The landscape is simply beautiful, but in a very desolate manner. As the film progresses, Ettore grows more and more delinquent.

The themes of mother and son are universal. Of making amends and of growing up. This film captures the feel of human existence as almost no other film does. Pasolini is a genius, he has his fingers right on the pulse of human rhythm. I think that he captures what the neorealist directors were always after. They always got bogged down in melodrama, although I do love a ton of them. Mamma Roma is the kind of film that makes me happy to be alive. It's not exactly a happy film, but it is wonderfully life affirming. When Mamma Ro' rode proudly down the street on the back of her son's motorbike, it left a mark on me never to be erased.

If Sarah Palin wants to support what she calls her "Mama Grizzlies," she should have Mamma Roma in her stable. This woman (Anna Magnani - The Rose Tattoo, The Secret of Santa Vittoria) is one tough grizzly, especially when it comes to her son, and trying to keep him on the straight and narrow.

She used to be a woman of the evening, until her pimp (Franco Citti - Accattone!, Godfather III) marries a country girl and retires, letting her reclaim her now teenage son (Ettore Garofolo in his first film) and move to Rome.

He soon falls for a loose woman and in with some unsavory characters. That's when the grizzly rears on her hind legs and goes to work.

Director Pier Paolo Pasolini (The Gospel According to St. Matthew, The Decameron, and the last before he was murdered, Salò) used Citti in many of his films. His films, while critically acclaimed, could draw moral outrage. Five minutes were cut from this film by the Italian authorities; although I can only guess where. He still was one of the best, and directed a winner here.