Mamma Roma

The fantasy of the the Italian night intersects with the reality of the postwar rubble in Pier Paolo Pasolini’s “Mamma Roma.”  Early in his career, Pasolini still works very much within the neorealist structure for “Mamma,” the story of a single mother and her teenage son…

theriverjordan

I'm obsessed with the way Roma's streetwalking is depicted; even when she's with others, she's this lone soldier moving forward and laughing in the face of death.

james

Feels like the only logical progression from Accattone that Pasolini could have made. Mamma Roma is a work of immense beauty, because he captures a specific Roman periphery. How the fact that this city feels like a wasteland of broken dreams. And it’s also where Pasolini…

Sam Jalali

The definition of insanity, according to Einstein, is doing the same thing over and over again and expecting a different result. In that sense, I believe my relationship with Passolini's cinema can only be defined as "insane." Most of the sensibility and style aren't to…

Rafael "Mister Movie" Jovine

The scenes of Mamma Roma walking the streets at night are so awesome.

Dr. Waffle

Pasolini breaks neorealism by following its rules through the other side. His nonprofessionals do not add a veneer of reality (except in scenes such as the one where a son drops his mom while awkwardly dancing and both bust up laughing) but separation, and Pasolini's…

Jake Cole

An embodiment and subversion of traditional Italian neorealism, Pasolini’s Mamma Roma tells a simple tale of maternal love and the struggles of Rome’s working-class in post-war Italy. What makes it a special entry in the neorealist school of filmmaking is how Pasolini turns…

Jerry

This is my third passolini film so far and thematically very similar to accattone but I don’t think that discredits it in any way. The movie depicts the complex relationship between a former prostitute and her son and shows the tough complex relationship between them in the…

Sam

Cinematic Time Capsule 1962 Marathon - Film #56 ”I’ve paid my dues in this world, and the next one, too” Anna Magnani completely owns this Italian coming of age tragedy, and her late night soliloquies are the Shakespearian equivalent of street walking cinema.…

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