Violino Tzigane.
"His appearance almost terrifying, and when it is not so annoyingly miserable. Horrible, fur, manes cartoonish, pale complexions, lost eyes. Initiation masks are barbaric, barbarous miserably. Or are masks diligent and unconscious integration not pity. " Pasolini's cinema has always been a film of faces. Faces of misery and poverty in the Roman suburbs Accatone (1960) , faces of love and drama Mama Romm (1961) , holy and human face in The Gospel According to St. Matthew (1964) , face of mystery and the Theorem enigmatic, funny and political face Pajaritos and Pajarracos (1961) , faces myth in Oedipus Rex (1967) and Medea (1969) face of depravity and terror in Salo or 120 Days of Sodom (1975) .
In Mamma Roma will be the face of a prostitute (Anna Magnini) and his son Ettore (Etore Garulfo) that show us the harsh and stark reality of post-war Italian society. But while it shares features Passolini neorealist heritage, away from Rossellini or De Sica, in Mamma Roma Accatone or there is a clear awareness formalist aesthetic that transcends the mere impression of reality. Mamma Roma
not let it be the melodrama of a prostitute who tries to escape his past to try to give wayward and rebellious child a better future. But Ettore, however hard they try his mother, is a character that could well come from the Roman slums Accatone, without hope or illusion, stigmatized for life, any attempt to change appears unrealistic and impossible, the only way out of these disinherited, is crime and idleness.
However despite this marginality, Pasolini creates moments of intense poetic naturalism, as the sequences of trips by Ettore open field near his new home, where he confronted the past, rural peasants and has almost completely disappeared, represented by the ruins and monoliths and the present, capitalist and proletarian with modern buildings of the Roman suburbs. Italian director felt a deep distress and dissolution of depopulation of rural areas due to the massive migration of peasants into new factories, because the traditional world of values \u200b\u200brepresented a pure and innocent, who opposed the dehumanization and commodification of human existence that was introduced in Italy after the war. This feeling that brilliantly captures the objective of Colli della Tonino in these two fantastic back-tracking shots, in which Anna Magnani seems to confess to the camera while in and out of the box, acquaintances and clients of the prostitute.
The pervasiveness and possession of Mamma Roma on the life of her son Ettore, slashing at times a relationship "oedipal." In the scene where the mother teaches Ettore dance with the song "Violino Tzigane" is played libidinous point that goes beyond the love of a mother for a child. As in the zealous attitude of the mother when the child learns that falls in love with Bruna (Silva Corsini), who will ask your friend prostitute (Luisa Orioli) that appeals vástago.Está relation to no less a film transcript of Pasolini's own relationship with his mother Susan. The Italian artist exaperado suffered a love for his mother and it is not surprising that the screen had just carried one of the quintessential Western myth in Oedipus Rex.
The final Mamma Roma, where Ettore, cruzificado in a hospital bed after committing a robbery suicide, crying to his mother, allows Pasolini show your love of figurative and pictorial event. Clear and direct reference the Dead Christ by Mantegna.
Ettore / Christ faces oscillate between the divine and the mundane, very close Pasolini to Dreyer's Passion of Joan of Arc (1927) shows us the ineffable of human existence through the sacred.
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