[Originally published in Movietone News 38, January 1975]
The print of The Seduction of Mimi currently being shown in Seattle has had about 30 minutes out from it. According to a friend who saw it whole two years ago at the San Francisco Film Festival, the abridgements improve the film. I find myself wondering whether they don’t partially account for its present weaknesses, which appear mainly in its overall construction. It seemed to me, as I watched the picture, that Wertmüller habitually projected her audience’s indulgence, that she counted on our goodwill to model sinew, muscle and flesh over the bare bones that join the various parts of her otherwise well-developed corpus together. It looks as if she were trying to make a complex and ambitious film using the erosion of political and social consciousness as a serious web on whioh to weave her comic woof. But since I haven’t seen the film as she intended it to be seen, I can only speculate that the occasional failures of cohesion are less her fault than that of the New Line Cinema people who subsequently hacked out that missing half-hour.
The Mimi of Lina Wertmüller’s The Seduction of Mimi (1972) is not a woman but the nickname of a working class Sicilian man, and his seduction is not sexual, or at least not entirely sexual. The full Italian title of the film translates to “Mimi the metalworker, wounded in honor,” which more accurately frames the odyssey of Mimi, the macho manual laborer who makes a show of individualism even as he systematically compromises himself.
Wertmüller’s third feature film (and her third collaboration with Giancarlo Giannini, who starred in two of her TV productions), The Seduction of Mimi made her name internationally and established Giannini as the defining presence of Italian masculine identity in her satires. He plays big-talking union man and quarry worker Carmelo “Mimi” Mardocheo, a swaggering peasant living in a loud, overcrowded house with a Catholic wife (Agostina Belli) who refuses to make love to him. When he defies the local boss and votes his conscience rather than the mafia’s man, it costs him his job when the secret ballot turns out to be not so secret. With no prospects and little reason to remain home, he heads out of sunny Sicily to foggy industrial Turin, where he bluffs his way into the mob’s good graces and the bed of garrulous Communist activist Fiorella “Fiore” Meneghini (Mariangela Melato). She doesn’t care that he’s married as long as he doesn’t sleep with his wife. “With me, it’s all or nothing,” she explains, a motto that could just as easily be applied to his wary affiliation with the mob, which gets more complicated when he stumbles into the middle of a gangland assassination. He owes not just his job but his very life to the mafia, adding an urgency to his increasing obligation to the organization that is at odds with his political commitment.
The Seduction of Mimi is the first of seven features Wertmüller made with Giannini, a collaboration that later earned him a Best Actor prize at Cannes and an Oscar nomination, and the first of four films she made with Mariangela Melato. The three of them reunited in Love and Anarchy and Swept Away. This is the film that launched her career in Italy and her international fame. Decades later, her sociopolitical broadsides are hardly revolutionary, but they are spirited and entertaining.
[Originally published in Movietone News 58-59, August, 1978]
There’s a sharply defined moment at which The Chosengoes bad: just past the halfway point of the film, when the mad logic that has been carefully built up through imagery and coincidence convinces us that one of the film’s characters really is the Antichrist; and then, suddenly, a belated red herring is introduced, and we are asked to spend the next two reels identifying with the impossibly misplaced judgment of our hero who, having as much information as we do, has no excuse for being wrong. You see this kind of thing a lot in giallo and Italian horror. It’s a critical error, and because of it, TheChosenends up a disappointment. Yet there’s a lot of promise in the film, particularly its first half; and it is superior in almost every way to the film of which, at first glance, it appears to be merely a cheap imitation: The Omen.