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, ventriloq…

帕索里尼這部早期的影片受到新現(xiàn)實(shí)主義的影響很深。從主題到人物設(shè)置，從影象風(fēng)格到臺(tái)詞設(shè)計(jì)，彌漫著樸實(shí)而荒涼的氛圍；對(duì)底層人物的關(guān)注以及母愛(ài)主題的不斷深化充分表現(xiàn)出導(dǎo)演對(duì)悲苦人生的積極態(tài)度，企圖將荒蕪的人性從悲苦的環(huán)境中解脫出來(lái)。引起我更多注意的是導(dǎo)演那種標(biāo)志性的場(chǎng)景安排，如一開(kāi)頭的婚禮場(chǎng)面不免讓他的影迷聯(lián)想到他后期作品中的“宴會(huì)”，一定程度上反映出他內(nèi)心對(duì)“儀式感”的偏好。還有一些宗教指涉，由于不太熟悉了解所以不感胡亂評(píng)論一番（如兒子最后在監(jiān)獄中死去的一幕），但足以證明帕索里尼從最早開(kāi)始已經(jīng)對(duì)宗教以及眾多的“儀式”有著一種無(wú)法割舍的“情意結(jié)”(obsession)。

羅馬媽媽——戰(zhàn)后羅馬社會(huì)的縮影。
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