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Mamma Roma
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Mamma Roma

1962
Drama
1h 50m
Your probable score
Avg Percentile 71.43% from 469 total ratings

Ratings & Reviews

(468)
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Rated 04 Feb 2014
6
83rd
unlike pasolini's later work, this one falls much more in line with italian dramas of the time, and particularly the ones with loud and extravagant women, such as fellini's nights of cabiria and visconti's bellissima. this one is about the mother-son relationship, the unchangeability of some people no matter where they live, and perhaps most importantly given the final image, the fickle facade of civilisation as represented by rome. a bit heavy in some dramatic threads but really good overall.
Rated 28 Dec 2013
82
93rd
What stands out in Pasolini's first two films is the physicality of the acting and of the way the actors are filmed. Here, even more than in ACCATTONE, the narrative seems to be a story about Italy as a whole, though a little more melodrama creeps in here, but there are numerous excellent scenes that make this another great film from Pasolini. All the principals are very good.
Rated 22 Jul 2010
41
3rd
Drawing me in and engaging me certainly took some time for this movie, but it turned out it wasn't worth it since by the end of it, I felt like I had watched half a film. This film makes ridiculous points about criminal activity and motherhood, and should've been developed further in the screen-writing process.
Rated 03 Nov 2011
60
19th
Shitty acting, underdeveloped story.
Rated 12 Jun 2016
80
86th
An overrating, if taking into account expectations for artistic merit based on the similar La Strada and Nights of Cabiria having been released years prior, and how some of what he did add, in particular the contrived tear here and there, only devalued it relative to those original explorations concerning social mobility.
Rated 14 Apr 2016
64
62nd
It's been a while, but this is probably the first time i've really appreciated Pasolini's portrait-like, frontal compositions (it helps that the transfer was a lot better than most of his other films that i've seen of course). The teenage stuff was really nice, the pimp stuff felt a little cliche at this point, but Magnani steals the show. This is easily the least sloppy Pasolini film i've seen, although it's not without some flaws (the somewhat overblown ending in particular).
Rated 19 Jan 2013
30
21st
Oh god. Mamma Roma is some kind of a twisted early version of Divine.
Rated 29 Dec 2012
70
75th
The reason I like this better than most of Pasolini's directorial work (aside from my adulation of Anna Magnani) is that for the most part, it's less a statement and more a story. The lengthy tracking shots of Magnani walking and talking to alternating male johns are unforgettable. Sadly, the final third of the film does dwindle, and takes a dive toward the ending. Less fatally, Pasolini chose Vivaldi's Concerto for Piccolo in C major for the soundtrack, and it's so gorgeous it's distracting.
Rated 12 Jul 2023
70
41st
Well this is certainly cheerful. Pretty well done with a good performance by Magnani.
Rated 22 Feb 2020
82
75th
Mamma Magnani!
Rated 04 Sep 2017
60
28th
There are inspired scenes -- Ettore at the end seems the "Lamentation of Christ" of Mantegna; the scenes of Mamma Roma walking down the dark streets talking with random people entering in her lights -- but also scenes where Pasolini shows that he is still an amateur in filmaking while doing this movie.
Rated 24 May 2017
85
85th
Feels par for the course for Italian drama of the time. If you like it you'll like this one. One of the best at filming actors.
Rated 08 Jun 2008
100
96th
Mamma Roma is us. We all desire mediocre things and bound by the self- satisfied way of love which we think that are the best for others around us.
Rated 24 Apr 2012
73
83rd
while rebuilding a country of rosselini's war years, lonely people try to make their living.
Rated 15 Nov 2011
85
73rd
Just when you though her life was tragic enough....
Rated 20 Oct 2011
35
90th
"Pasolini's second film showcases Anna Magnani with a minimum of sentimentality in a bleak, pitiless Eternal City of the early '60s." - Bill Weber
Rated 30 Jul 2011
75
72nd
A compelling little film. The social insights are acute, the dialogues are well-written, Magnani is magnetic (although sometimes vexingly upbeat) and Garofolo is pretty much the Italian equivalent of James Dean. There are scenes (such as two impressive tracking shots) where Pasolini shows brief chops of his directorial prowess. And although the ending is perhaps too heavy-handed, the bluntly bleak final scene packs an emotional wallop. Overall, nothing too exceptional, but very solid.
Rated 03 Mar 2011
80
66th
In the general ballpark of neorealism, though not strictly so. Anna Magnani does an amazing job in some scenes, but in others she seems a bit hammy to me. The one thing that will probably stick with me the most is the long tracking shot of Magnani streetwalking. It's the kind of thing that makes me wish I were a filmmaker so I could copy it. Otherwise, I'm at a loss to mention anything remarkable about the film, but it holds together nicely and explores some interesting territory.
Rated 01 Feb 2010
100
95th
This was just perfect, as a hooker tries to reconcile her life with her son in post WWII Italy. Absolutely loved the scenes of the lead actress walking down the strip with nothing but the lights of the city in the background as people walk in and out of her spotlight whilst she recounts her life, it provides something very mysterious.

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