, by Lina Wertmüller, tend to paint the over-arching messages of the films as acutely monochromatic, when often there is much evidence that through the motifs of juxtaposition in the two pictures, the directors not only contrast “civilization” with “savagery” and capitalism with communism, but also compare the adverse concepts in such a manner that the viewer is forced to critically contemplate the value of each.
This insulation of doer from done is most clearly present in the young boy, who runs about playing war in the beginning of the movie, yet does not understand the implications of his own father taking shots at him.
Society has severed the connection between the deed and the morality and brutality of its author, no one is personally invested in their action and this allows them to do as they please without intervention on the part of the conscience.
The children even appeared to be panting like dogs while in class leading me to believe that Roeg wanted us to see them as a herd of animals rather than individuals.
At that point I understood that there was going to be a hint of societal mockery throughout the film.
It is this intentional severance which Roeg is highlighting in this film and he gives no real suggestions for solving the problem.
in neat little boxes of “misogynistic” or “pseudo-feminist,” with little consideration of how the themes are used in the movie, particularly whether or not the sexism in the film—Gennarino states outright, “Women were meant to serve men” (Wertmüller 59 min.)—is presented in a negative or positive light.
(1971) is one of those films that one could justifiably write either briefly or at great length about.
The script, an adaptation of James Vance Marshall’s novel, was rumored to have been between 14 and 60 pages and can be effectively summarized in three sentences.
First, Raffaella actually starts the abuse with her constant berating of and lording over Gennarino on the yacht.
Secondly, this "romance" is not taking place in anything resembling a civilized situation - by virtue of their circumstances, the characters have been thrown back into a setting that mimics prehistoric times, when survival (of the individual and of the species) dictated coupling.