Mamma Roma

Download Mamma Roma
(drama)
Download Movie Mamma RomaMamma Roma is a middle-aged whore of Roma. Now she can quit her job to become a fruit seller. And she can take back her 16-year-old son, Ettore. For him, she dreams of a good position. But it is perhaps too late for Ettore, whose company includes mostly teenaged louts...

actors:

Anna Magnani as Mamma Roma
Ettore Garofolo as Ettore
Franco Citti as Carmine
Silvana Corsini as Bruna
Luisa Loiano as Biancofiore
Paolo Volponi as Il Prete (Priest)
Luciano Gonini as Zacaria
Vittorio La Paglia as Il sig. Pellissier
Piero Morgia as Piero
Lanfranco Ceccarelli as Carletto
Marcello Sorrentino as Tonino
Sandro Meschino as Pasquale
Franco Tovo as Augusto
Pasquale Ferrarese as Lino
Leandro Santarelli as Begalo
directors:
Pier Paolo Pasolini
rating:8.00


Strong and tragic film with a surprising Anna Magnani as the
damaged woman who fight for a dignified life in the slums of Rome.
inflexible social realism and can not be used as Pasolini
music as the subsequent commentary of the themes of the film. In his films the
music is not isolated to specific scene, but always to the film as
a hole. Doing this in a way so that the viewer is obliged
in the film and becomes an "active" participant in the action. It
characteristic of the Italian films in general, but Pasolini
achieved this in the most painful and hypnotic. Perhaps with a tendency toward
rhetoric, but that does not weaken the film. This is a
masterpiece!
Definitely a mixture. While, for once, it gives us a character with Pasolini
some charisma and emotions that we can identify with, it is also true
Magnani "great dame" serious imbalances in performance of the image. Its regular time
eruptions of gasping, clutching-your-belly laugh
sides (not
significant doubt its "earthiness") often seems as puzzling and mystifying his co
- stars as they do the viewer. Moreover,

his quieter scenes alternate expressing anxiety and love to understand his son
are quite convincing. Most impressive of all are the two night
set pieces where Magnani walks, was extended to below
Roman seemingly desolate streets (almost nothing outside the lampposts is visible) and
in
joined in turn, and then abandoned by other creatures of the night.

All these people - mainly prostitutes and their clients and several other
partiers - are familiar with clarity "Mamma Ro" and it is here that
Magnani operístico performance style really fits the situation;
showing their behavior as a defense against staff and entanglements
impingeing
emptiness of the night. Pasolini is able to communicate not only to ease

and familiarity with this world and his deputy cosmic sense of "aloneness"
in
, but a resonant sense of dislocation and moral decadence he saw as
stationed in that society. Pasolini uses powerful configuration
throughout the film. The ancient (and fragile) ruins give a sense of both

our increasingly tenuous connection to the past and the impermanence of
the current structure of things. Use wide, often abandoned,
streets with the camera tracking backward - in front of - or interest - in

front of - the characters. Hence, get a sense of a force pulling the
characters from one place and / or pushing another. A sense of
operation so perhaps? The group of apartment buildings also
effectively communicates a sense of Rome (or the modern city) as a
prison -
especially in the last shot.

A couple of other notes: Ettore Garofalo is totally credible as the
sullen, swaggering, sometimes clumsy child. As for Pasolini and intrusion
hand religious symbolism: not overwhelm the drama inherent

history, or our participation until the final 10-15 minutes. This in stark

Unlike all his films after The Gospel According ST. Matthew. In
most of this short-dated 60 of experimenters seems quite cool here.
7 / 10.


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See also: Drama: Astronaut Farmer, The

See also Drama Tides of War

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