L'Amore

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@Blobbo 10/30/2021 One woman show not Blobbo cup tea. (Not watch 2nd half,, admittedly.)(Maybe will later.)(Maybe not.) So far, for serious drama students only. See more 12/29/2017 Anna Magnani is the centerpiece of two short films directed by Roberto Rossellini, co-written by Jean Cocteau and Federico Fellini; rather scandalous at the time of its release when the second story- "The Miracle" - caused a censorship trial in the U.S. See more 04/06/2016 Captivating performance! Unfortunately would not be appreciated by many of today's audiences. One of Rossellini's Neo-realism masterpieces. Two vignettes, diametrically opposed in many respects but both sharing one commonality. See more 12/27/2014 The first story is alright but the second which is written by Federico Fellini is definitely worth checking out. See more 09/24/2013 Two shorts within this 78 minute feature than exemplify the suffering of a peasant woman (Anna Magnani). Ranks among the same quality as director Roberto Rossellini's film "Stromboli": lots of misery, but not much else. I suppose the setting makes it more atmospheric in that is demonstrates a very poor Italy in the country side, but it becomes indulgent after a while. It is okay, but overall, it is not a complete success. A general disappointment from the director, unlike his great "Rome: Open City" from 1945. See more eric b 12/23/2011 The idea of a collaboration between Roberto Rossellini, Jean Cocteau and Federico Fellini should make any film scholar drool. Add the inimitable fire of Anna Magnani -- she's the whole show here -- and who can resist? "L'Amore" is not easy to watch, but it's over within 80 minutes. The film is divided into two separate sections and even rolls extra credits in the middle. The first part (scripted by Cocteau) has just one actor: Magnani, portraying a distraught woman caged in her apartment while anticipating a call from her estranged husband. He has left their five-year relationship, and she would forgive everything if he would simply drop his new lover and return. But he has moved on, even if he's a kind man who doesn't want to hurt her. Her anguish on the phone is searing, but Magnani's flamboyant performance somewhat wears out its welcome as the claustrophobic minutes pass. The second part (scripted by Fellini, well before his first directed feature) was quite controversial in its day. Slightly longer and much broader in setting and cast, this segment functions as a perverse retelling of the Virgin Mary story. Magnani is an unbalanced homeless woman who mystically encounters St. Joseph (the young, bearded Fellini, who never says a word) on a lonely hill and is impregnated. When she tells others, she is ridiculed. One yearns to find that she's a righteous believer whose claim will be vindicated, but the likely truth is that "St. Joseph" was simply a vagrant wanderer who subdued her with wine and raped her. However, the tale remains somewhat ambiguous -- presumably, the reason for all the protests. See more Read all reviews

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