818
01:19:58,604 --> 01:20:01,246
Help yourself. Look.
Here, drink up.
Don't be ashamed.
It'll help.
You're not that young anymore.
This fog rusts your bones.
Screw them if they call us tramps.
Why do you do this?
Who makes you do it?
You don't even know yourself.
You've done it for 30 years
and you're asking me?
It's your fault, you know.
You're one to talk.
How you end up is your own fault.
Everybody knows that.
The evil you do is like a highway
the innocent have to walk down.
When ettore was born,
he didn't want to walk down this road.
But who put all this garbage
in your head?
A priest.
He was like a living bible.
I didn't want
to start over from scratch.
Maybe i just didn't understand.
Damn you and this cognac!
Now you've got me drunk!
Good-bye.
Do your soul searching by yourself.
God, i've got an awful stomachache.
Like i ate my own heart out.
Hey, ventriloquist.
神秘 “By fixing and isolating segments of what is visible, Pasolini creates the sense that what we see
is merely one part of reality, and that the truly essential-and sacred-remains unseen.” Like how people
can’t see god, Pasolini is attracted by something that is invisible to the audience’s eye and the
invisible images carry something mysterious. In the scene of Mamma Roma, the invisible background makes
the scene more mysterious and outstanding than other scenes in the film.
================
965
01:33:09,689 --> 01:33:13,321
What did you learn today
from the divine comedy?
Today i learned pages 104 to 105.
It took a jail sentence
to educate you.
Come on.
Let's hear that canto.
I dreamed i was in the circle of shit,
and they kicked me out because i stank.
We gonna hear
the divine comedy or not?
Fourth canto.
"Broke the deep slumber in my brain
a crash of heavy thunder,
that i shook myself,
as one by main force roused.
Risen upright,
my rested eyes i moved around,
and searched with fixed ken,
to know what place it was
wherein i stood."
Hey, they put a crazy guy in with us.
Calm down.
A guy like you came in here a month ago,
and the next day he was dead.
Keep on reading.
"On the brink i found me
of the lamentable vale,
the dread abyss that joins a thunderous
sound of plaints innumerable.
Dark and deep,
and thick with clouds o'erspread,
mine eye in vain explored its bottom,
nor could aught discern.
Now let us to the blind world
there beneath descend."
987
01:34:27,779 --> 01:34:32,238
Play only for me, o gypsy violin
perhaps you too dream of a love
help!
I want out of here!
Let me out!
===============
1020
01:38:48,145 --> 01:38:49,962
Leave me alone.
1021
01:38:52,739 --> 01:38:57,166
Don't worry.
I spent time in jail as a kid, too.
1022
01:38:57,333 --> 01:38:59,333
You get over it.
When he gets out,
he'll have learned about life.
He'll turn over a new leaf.
Like water under the bridge.'
行将结尾 献祭 直直看着他的脸孔， 他在看什么，直直的，天窗透光的气孔 扫过十字的躯体 幽怨的提琴 咯噔咯噔的
钢琴 When Ettore dies in a prison hospital, Pasolini recreates Mantegna’s 'Dead Christ. Ettore is lying
on the wooden bed. He is stripped down to a shirt and underpants. His body is tied to the bed. The light
coming from the ceiling emphasizes Ettore’s pale skin. The camera shoots his body from Ettore’s feet
just like the painting.
999
01:36:19,715 --> 01:36:22,739
Help me! My arms hurt!
Why did you put me here?
Help!
又一次天窗 天亮了一些 妈妈 妈妈----听见了吗 孩子的呼喊 如夜晚做噩梦后惊醒 叫着mama mama 病着的梦呓
Unstrap me.
I swear i'll stop.
I'll be good.
Take me back to guidonia,
where i lived when i was little.
I'm freezing to death.
1007
01:37:17,773 --> 01:37:19,110
I'm sick.
Tell them to unstrap me.
居住地的远景 窗子 看窗外的妈妈
My poor baby.
My poor little boy.
1011
01:37:57,169 --> 01:37:59,496
He came into the world alone.
He grew up alone,
like a poor little sparrow,
looking all around,
searching for god knows what.
Alone.
--------
1016
01:38:17,521 --> 01:38:19,272
Mamma, i'm dying.
I've been here all night.
I can't take it anymore.
Mamma, why are they
doing this to me?
===========
1025
01:40:18,644 --> 01:40:19,885
Ettore! 妈妈的爱 就应是粗狂的 吼出心来的
1026
01:40:22,154 --> 01:40:23,970
Mamma roma, where are you going?
1027
01:40:31,598 --> 01:40:32,598
Mamma roma, where are you going?
1028
01:40:37,083 --> 01:40:39,824
- Mamma roma, wait.
- Stop.
-----------------
又一次看到墓地 死亡？？？？ ！！！
大师的结尾 她在瞪着 想什么？？
208
00:21:16,413 --> 00:21:18,546
How you like to dance, my son.
What an ugly view.
All you see is the cemetery.
I was planning on moving tomorrow,
but now we'll have to wait
two more weeks.
So what? We'll have fun later.
==============
Secondly, in the beginning of the film, Mamma Roma brings three pigs to the wedding of her old pimp,
Carmine. Carmine calls the pigs “Brothers of Italy.” Then, Mamma Roma calls one pig a whore. In a
contrast to Rossellini’s patriotic film, Pasolini brings irony into his film. Ettore dies in an Italian
prison even though he doesn’t die from extreme physical torture. Pasolini shows that the corruption of
society is not because of outside forces like Roma under Nazi occupation. The problems are actually
created within the society or the people in it.
There is a shot of the landscape of Rome in the end of Mamma Roma. The dome of a church sticks out from
the rest of the top of buildings. The scene shares the similarity with the aforementioned Rossellini’s
film again. In Rossellini’s film, the dome of St. Peter’s appears as the background when boys are
walking on the street dragging their sadness. They seem like they are walking toward St. Peter’s or
“the house of God.” On the other hand, in Pasolini’s film, when Mamma Roma finds out Ettore’s death,
goes back to her apartment and tries to jump off the window, she sees the dome of a church. She stares at
the dome. The image of her and the dome switches back and fourth. Her stare gets more intense. The film
ends.
Naomi Greene says the use of non-professional actors is the same as what other neo-realist filmmakers do,
but the philosophy behind it is different. Neo-realist filmmakers believed that using nonprofessional
actors “would add to the realism to their films, Pasolini turned to nonprofessionals because their
acting did not seem ‘real.’”Nonprofessional acting obviously interrupts “narrative flow.” For
example, when Mamma Roma and Ettore dance a tango song together, Ettore’s rigid inexpert dance move
causes his mother to fall on the floor. She laughs brightly. Ettore laughs shyly and looks at the camera.
But Pasolini doesn’t cut or reshoot the scene. He leaves it as it is.
妓女妈妈 街头伙伴拉客 妓女将错就错used to it的心理的产生
Pasolini recreates Mantegna’s 'Dead Christ. 人造作了人的地域 人给人了sin Ettore承担了自己无辜的人们给予
的sin
为何人让人去受罪 为何人让人去流泪 为何人与人作对 为何人与人相随 哎呀~~我说命运啊，生存啊
命运啊，生存啊~~~~~
哎呀~~我说命运啊，生存啊
命运那，生存那~~~~~ （二手玫瑰 拉家常 老婆婆苦口婆心的 在胡同口石头上数量儿~~）
爱情欺骗他 569
00:56:15,488 --> 00:56:17,108
Let me go!
What are you doing?
You'll hurt each other.
Leave him alone.
What are you doing?
Picking on someone
smaller than yourself, eh?
Bye, ettore.
See you tomorrow.
友情欺骗他 bad bunch
可怜最后妈妈欺骗了她
387
00:39:41,297 --> 00:39:45,179
Yeah, you lived with the hicks.
Did your mother visit you?
Who cares about my mother?
====
538
00:53:50,853 --> 00:53:52,636
But you love your mother, don't you?
What do i care about her?
Shame on you.
I love her a little, though.
- How do you know?
- Because i'd cry if she died.
- I didn't expect you'd be laughing.
- Shall we go?
===========
919
01:27:49,317 --> 01:27:51,797
Ettore, listen.
You feeling all right?
You're all flushed.
You've got a fever.
It's over 102.
Why aren't you in bed?
924
01:28:03,099 --> 01:28:04,501
Who gives a shit?
925
01:28:04,661 --> 01:28:08,393
You angry 'cause of what
i told you about your mother?
Everybody knows.
I thought you knew, too.
I've had enough!
Leave me alone!
I don't give a damn
about my mother!他是真的气愤了
930
01:29:00,486 --> 01:29:02,813
Get a move on.
You're not calling the shots here.
他是才初始生下来就alone 对妈妈的don't care 慢慢培养感情
然后最后的气愤 彻底绝裂 可是能绝裂吗， 他是想着妈妈的 最后在deathbed
就像小时候自己生病时的梦呓 妈妈 妈妈 你在哪？？ 我生病了 我想你呢
Pasolini viewed her attempt to find a place in a rapidly changing society as an expression of moral decay, because of this new society抯 consumerism and spiritual vacancy梥he is socially doomed, and the forces that have made her life a bitter struggle for longer moments of joy than the few she gets to experience (teaching Ettore to tango, clinging to him as the motorcycle she抯 bought him roars along the roadway) are the same that literally doom her son.
The overt Oedipal aspect of this film is a familiar element in Pasolini抯 work. Strange to say, we never learn whether Carmine is actually Ettore抯 father (something assumed by many critics), since Carmine never claims to be, and Mamma Roma, in one of her hallucinatory night-world promenades, says that 揾er husband?was Ettore抯 father; but she also says this husband, presumably a young man, was arrested and taken away right after their wedding, leaving her 揳 virgin at the altar.?Moreover, at an earlier point she describes her forced marriage as a teenager to a man over sixty, who had outlived both her parents. (Where is he? She never tells us.) Carmine accuses her of seducing him when he was a simple country boy and she already forty. One would almost conclude that Ettore has no father and that Mamma Roma is, like the city she抯 named for, 揺ternal,?the archetype of the mother whose fatherless child is also her lover, if only in her own imagination. (Pasolini, whose sexual tastes ran to street boys like Ettore, loathed his father, who died in 1958, and worshipped his mother, whom he then lived with until the end of his life. He cast her as the Virgin Mary in The Gospel According to Saint Matthew.)
========================
229
00:23:13,263 --> 00:23:16,635
There was a neighbor of ours,
a rich old man
with loads of money.
He dressed like robespierre.
He had a mustache and cane,
like he was a king.
You know how he made his money?
Under fascism.
Mussolini told him,
"build a district for the working class."
That became pietrarancio.
Your turn!
The walls in the first house
he built were great.
So were the toilets. You could eat
from them, they were built so well.
Mussolini came back and said,
"that's just what i wanted."
The son of a bitch.
As soon as mussolini leaves,
he stops building houses
and just makes toilets.
They called the district "latrinia."
Nothing but concrete tombs
as far as the eye could see.
247
00:24:15,755 --> 00:24:19,736
God, was that old man ugly!
Some disease in africa
had pockmarked his whole face.
He had asthma, rheumatism,
a bad heart, colitis, diabetes.
He stank to high heaven!
Was he a christian at least?
He was 65 and i was 14.
I got married
in a young fascist girl's uniform!
No problems after the fall of fascism?
He was so old! You'd have thought
he only had two days to live.
Foaming at the mouth.
- Look who's here, mamma roma.
257
00:24:53,365 --> 00:24:56,867
He's gonna die on me.
He's gonna die!
He's dying!
- Who's dying, mamma roma?
- The old man they made me marry.
- What an outrage! An old man?
- They made me. He was my husband.
And you didn't fight it?
If they'd done that to me -
oh, sure, you think
you're smarter than me?
I'd have liked to see you in my shoes.
My mother was probably right
in making me marry him.
- What a lousy mother!
- "He's got millions," she'd tell me.
"He's rich. Seventy years old.
He'll die on you.
268
00:25:31,293 --> 00:25:35,078
What's the matter with you?
Don't you want to be a lady?
You can pick the next one."
You slept with him?
Shame on you.
He was probably a sadist too.
You want to know something?
My mother's dead,
and so's my father,
but the old guy's still alive,
damn him!
批评家们对帕索里尼的死的评论是："死亡模仿艺术"。他曾先后为马里奥苏迪特、费里尼、波罗格尼尼等人撰写剧本。其中费里尼的两部名作《卡比利亚之夜》和《甜蜜的生活》就是与费里尼合写的。当时还年轻的贝尔托鲁奇对帕索里尼极为尊敬，并请这位亦师亦友的前辈为他写了处女作《死神》的剧本。
死亡是绝对必要的，因为，只要我们还活着，我们即缺乏意义。。对于种种关系和意义的探求。
死亡变成了我们生命中一个令人眩惑的蒙太奇。。
幸亏有了死亡，我们的生命才得以表现出我们自己。
——帕索里尼
1960—1965年
我憎恨布尔乔亚
被剥夺了在布尔乔亚之中的位置
于是我被剥夺了我在世界之中的位置
1965—1970年
人们说我有三位崇拜的偶像：耶稣、马克思和弗洛伊德，那只是一种套用公式的说法，事实上，现实是我唯一的偶像。
1970—1975年
身体始终具有革命性；因为它代表了不能符码化的事物。
手记
电影导演要做双重的工作：
一，他必须从混沌的世界中选取形象符号，使其可用，并设法把它们编入一本形象符号词典。
二，他必须作作家所作的那种工作：使纯词态的形象符号得到具有个性特征的表现。
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