Mamma Roma (1962) [Criterion Collection]

Director: Pier Paolo Pasolini
Writers: Pier Paolo Pasolini
Stars: Anna Magnani, Ettore Garofolo, Franco Citti

Anna Magnani is Mamma Roma, a middle-aged prostitute who attempts to extricate herself from her sordid past for the sake of her son. Highlighting director Pier Paolo Pasolini’s lifelong fascination with the marginalized and dispossessed, Mamma Roma offers an unflinching, neorealistic look at the struggle for survival in postwar Italy. Though initially banned in the country for obscenity, today the film remains a classic, featuring a powerhouse performance by one of cinema’s greatest actors and offering a glimpse at Pasolini in the process of finding his style.

Extras:
- New 4K digital restoration with uncompressed monaural soundtrack
- La ricotta (1963), a 35-minute film by Pasolini starring Orson Welles as a director who sets out to make a film about the Passion of Jesus
- Pier Paolo Pasolini (1995), a 58-minute documentary by filmmaker Ivo Barnabò Micheli covering the career of the controversial artist
- Archival interviews about Pasolini, featuring Bernardo Bertolucci‚ assistant director to Pasolini on Accattone; Tonino Delli Colli‚ cinematographer on eleven of Pasolini's fourteen films; and Enzo Siciliano‚ author of Pasolini, a biography
- Original theatrical trailer



Pasolini 101:
One of the most original and controversial thinkers of the twentieth century, Italian polymath Pier Paolo Pasolini embodied a multitude of often seemingly contradictory ideologies and identities—and he expressed them all in his provocative, lyrical, and indelible films. Relentlessly concerned with society’s downtrodden and marginalized, he elevated pimps, hustlers, sex workers, and vagabonds to the realm of saints, while depicting actual saints with a radical earthiness. Traversing the sacred and the profane, the ancient and the modern, the mythic and the personal, the nine uncompromising, often scandal-inciting features he made in the 1960s still stand—on this, the 101st anniversary of his birth—as a monument to his daring vision of cinema as a form of resistance.