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Mamma Roma Series: Heretical Epiphanies: The Cinematic Pilgrimages of Pier Paolo Pasolini Director: Pier Paolo Pasolini, Country: Italy, Release: 1962, Runtime: 106 Restored Print One might say that Pasolini’s second film is his homage to neorealism, the films of Rossellini in particular, to whom it is dedicated. Mamma Roma also dovetails with a common theme among socially aware Italian films of the late 1950s and ‘60s, an attempt at economic betterment with a move to the city. But the film’s profound anger at the soullessness of urban life in the wake of the economic boom, and the intensity of its devotional adoration for its mother figure heroine, stand alone in Italian cinema. Anna Magnani plays a more intensified variation of her already intense stage mother in Visconti’s Bellissima, a single mother who tries to flee from her life as a prostitute and make a better life for her son Ettore (Ettore Garofolo). She is dragged back into her former profession, a little at a time, by her old pimp Carmine (Franco Citti). For Pasolini, neither mother nor son have a chance against the spiritually depleting forces of economic expansion, and in the film’s most eloquent sequences Magnani walks the circuit among her fellow prostitutes, soliloquizing about her life as she awaits her next pick-up. Neither Pasolini nor his grand star were happy with Mamma Roma––he felt that he was repeating what he’d already done with Accattone (and, perhaps, with his contributions to Fellini’s Nights of Cabiria), and she felt that she had been short-changed by her young director. They were both wrong. It’s a uniquely powerful experience.

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