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MAMMA ROMA—Anna Magnani. This is one of the great women of the 20th century. I watched this Pier Paolo Pasolini film, which I'd never seen, in absolute awe of her power. By what right did this average-looking 54-year-old woman manage to be incredibly, devastatingly sexy in this film, and in a way that makes conventional beauties look obvious and not even worth the time? I don't have the answer, but I think it has something to do with a glorious and absolute lack of fear, which also permeates her acting. See her in the first scene, making a vulgar spectacle of herself at a wedding. How good is she? The minute I stop writing this, I'm going to go and watch that scene again. Such abandon, such life force. Here was an actress of genius. The film is about a middle- aged prostitute who tries to reform and make a better life for herself and her son. Pasolini misunderstood the point of his own movie. He thought that Mamma Roma's embrace of petit bourgeois values was her big mistake. The film is really about what a cruel climb it is from nowhere to somewhere. When Mamma Roma prays, she asks God why he's King of Kings but she's a nobody—and Magnani makes you feel it. The transfer is wonderful. Everything Criterion does is first rate. It comes with a second disc, containing interviews with people who knew Pasolini, a documentary about Pasolini, and a Pasolini short ("La Ricotta"). Mick LaSalle (SF Chronicle, 6.20.2004)
I read the above and was immediately excited to know someone else appreciated Anna Magnani. So many people under a certain age have not heard of her. I was only nine or ten when I first saw her in “The Rose Tattoo” (written for her by Tennessee Wms.) and still recall the power of her sexuality and life-force. I could not have told anyone about it at that age, but I know now that is what it was. Another film I’d recommend is “The Fugitive Kind”, based on an early Tenn. Wms. play (Orpheus Descending), and also starring Marlon Brando (as Valentine "Snakeskin" Xavier) and a young Joanne Woodward as a Beat-kooky-alcoholic. Very over the top drama, sexual symbolism abounds.
Another woman I admire as an actress, Helen Mirren, says this: "Anna Magnani, the only actress that I'd really bow down and kiss the feet of.”
So, what’s my point? Anna Magnani, her presence—the life force everyone recognizes—helped form me. I took to her partly because my mother and aunts were disgusted by her (thought her dirty, vulgar, ugly). They spoke similarly of Maria Callas (for having an affair with a married man).
Magnani and Callas—only two life models for me. How about you?
Perdita
Magnani pics
I read the above and was immediately excited to know someone else appreciated Anna Magnani. So many people under a certain age have not heard of her. I was only nine or ten when I first saw her in “The Rose Tattoo” (written for her by Tennessee Wms.) and still recall the power of her sexuality and life-force. I could not have told anyone about it at that age, but I know now that is what it was. Another film I’d recommend is “The Fugitive Kind”, based on an early Tenn. Wms. play (Orpheus Descending), and also starring Marlon Brando (as Valentine "Snakeskin" Xavier) and a young Joanne Woodward as a Beat-kooky-alcoholic. Very over the top drama, sexual symbolism abounds.
Another woman I admire as an actress, Helen Mirren, says this: "Anna Magnani, the only actress that I'd really bow down and kiss the feet of.”
So, what’s my point? Anna Magnani, her presence—the life force everyone recognizes—helped form me. I took to her partly because my mother and aunts were disgusted by her (thought her dirty, vulgar, ugly). They spoke similarly of Maria Callas (for having an affair with a married man).
Magnani and Callas—only two life models for me. How about you?
Perdita
Magnani pics