Seduction of mimi

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Italian film makers have long been regarded as those of a sexist sort, all but sensitive to the feminist movement. Many critics, such as Laura Mulvey, complain that the main characters are portrayed as the epitome of male machismo in pursuit of the constant submission of women. Instead of directly refuting and disproving this trend, Lina Wertmuller in 17's the Seduction of Mimi, utilizes a novel way of strengthening the perception of women in film. Through satire and overexaggeration, Wertmuller successfully turns the tables on traditional Italian cinema inobtrusively, to give credit to those supporting female roles oftentimes overlooked. Carmello, or Mimi, is a rather inconsistent protagonist especially seen in his relationships. This proves an extreme contrast to the assured and strong female characters in his life.

Mimi, a hardworking laborer, affronts as the Sicilian macho everyman. He works at the quarry, which begins the opening scene of the movie, where Mimi mines for rocks, representative of his dead-end future of a worthless and burdensome continuom. Throughout the film, Mimi is rather inconsistent in his political stance. He is ever changing in his political views, influenced by his surrounding environment. It is questionable whether Mimi even has a formal political affiliation. At the films inception, it seems as if Mimi votes against the mafioso only because his friend urges him to cast a guaranteed secret ballot. Mimi seems rather disinterested in politics actually, only faking communist passion when he defends his new love interest, Fiore, against her attackers. Later, after he accepts defeat from mafioso pressure, Mimi actually campaigns for the mafia candidate. Therefore, it is assumed that Mimi only becomes politically active for alterior motives, to seek love and recognition from friends, family and lovers.

Wertmuller also adds another tinge to her protagonist that distinguishes Mimi from many other Italian male figures. Sick of the heroic male character that rescues and solves all, the director shows Mimi in a cowardly light. He is painted a foolish child many a time, running from the mafia, women, and all aspects of his life. The mafia seem to be omniscently surrounding him, controlling every moment of his life, a similar suffocating feeling created by the close-up zoom cuts of images of authority and the three-mole symbol on their cheeks. The audience is placed in the uncomfortable setting as well, but only for few moments, as the ridiculous, surrealist representation is too comical to accept as real. After more repetitions of this film technique, it is apparent that Lina Wertmuller is making a mockery of Mimi's paranoia and inescapable fear and domination. The awkwardness of Mimi and Fiore's pre-fornicative meetings also depict Mimi as a whining little boy pleading and begging for attention.

At a superficial glance, Mimi and Fiore's relationship is illuded as one of true love, but as one who studies Italian film, it is obvious that the opposite is true. As inconsistent as Mimi is in politics and personality, so is he with his women. Some in the audience, as well as Fiore in the film, are fooled by Mimi's adolescent act pleading for love. It is plain to see after the fact however, that it was all just part of an act to seduce Fiore into bed. The next morning, after Fiore gifted her sacred virginity to Mimi, suddenly he turns into the tough virginal conquerer; countering the sweet love-makin scene of the previous night. Had he truly loved Fiore, Mimi would have not taken such painstaking detail in seeking vengeance on the sargeant who slept with Rosalia. He used the same technique to woo Amalia, as he did to woo Fiore. So throughout his actions the two courtships are virtually identical. Who is to say whethere one was more sincere or not? There were many other options other than sleeping with the dominatrix Amalia that Mimi could have taken to regain his nominal honor. It had been stated previously from Fiore's own mouth that she would not tolerate his cheating, even with his own wife. Had he valued her feelings, Mimi would have found other routes to seeking justice. He not only cheated on Rosalia for his "love" Fiore, but he cheated on his love for unecessary retaliation.

Custom Essays on seduction of mimi

The protagonist in the film is no predictable Italian male, and Lina Wertmuller creates these flaws to show the incredulous nature of men, in her character Mimi. Through gross exaggeration of his inconsistencies, Wertmuller demonstrates not only one flaw in males, but a combination that can be a diverse representation of all males. It is not hard to see to which side of the feminist issue Lina Wertmuller stands, as she intricately weaves the story of three very different, but equally strong women to sort out the life of Mimi.

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