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Sedotta e Abbandonata / Seduced and Abandoned (1964) + [Extras]

Posted By: Rare-1

Date: 26 Apr 2015 11:12:47

Agnese, a 15-year-old Sicilian girl is seduced and impregnated by Peppino, her sister Matilde's fiancé. Soon Vincenzo, Agnese's father, discovers everything. He wants to force Peppino to marry the dishonored Agnese, but Peppino runs away and Vincenzo sends his son Antonio to kill him. At this point, Agnese goes to the police to try to stop events. They're all taken to court. But events can't be stopped, there's still time for a fake kidnapping. A happy end is still possible.

IMDB 8.0/10 from 1596 users

Director: Pietro Germi
Writer: Pietro Germi (story), Luciano Vincenzoni (story), Agenore Incrocci (screenplay), Furio Scarpelli (screenplay), Pietro Germi (screenplay), Luciano Vincenzoni (screenplay)
Actors: Stefania Sandrelli, Saro Urzì, Aldo Puglisi, Lando Buzzanca
Rated: Not Rated
Runtime: 118 min

Review:

Once upon a time, in a country of the old, civilized Europe, an article of the civil code allowed a rapist to go free if the victim agreed to marry him. The wedding voided the crime. And once upon a time, which after all was not so long ago—less than fifty years—in the old, civilized Europe, there was a filmmaker who was very angry about the cultural flaws of his civil society and made a film accordingly: with courage, rage, and a lot of dark humor.

Seduced and Abandoned, “sedotta e abbandonata,” a very popular locution in Italian society in those years not so far in the past. A locution that in real life sealed the destiny of so many girls and allowed their fathers and brothers to save the “honor” of the family by taking their revenge on the seduced, while the seducer could get away with it all by marrying the girl. As a character in the film puts it: “The marriage erases everything, better than a general pardon.”

It is true that Germi doesn’t like his characters, except for maybe Agnese herself—but not in the beginning, not in the moment of the “seduction” that puts the plot in motion and that is at least ambiguous, depicting the girl as a sensuous young animal of dubious virtue. He starts liking her afterward, when a seed of rebellion emerges in her (at a certain point, to underline her rebellion, she speaks about moving to Milan, back then the symbol of modern living in Italy and, more to the point, a place of guaranteed anonymity after a life under the control of town gossip). He certainly doesn’t like his other characters or their culture, which he, a man from the north, with a different set of morals, cannot accept. His dislike is translated, from a visual point of view, into exasperated, expressionistic black and white; a cadenced, rhythmic choreography of people in public spaces that speaks for the collective zeitgeist; a cruel gaze focused on everybody’s ludicrous flaws; a mischievous use of wide angles; a series of “comic reliefs” that break the narrative and set it in motion again, never allowing things to get too serious or for any kind of identification or sympathy. The pace and the editing are frantic, and, as the Latin saying goes, motus in fine velocior: the more you approach the ending of the film, the more situations pile up, in a continuous reversal of fortunes and destinies that is almost violent.

When the film was released, Tullio Kezich, an eminent film critic and playwright, wrote that “it looks like a G. B. Shaw play illustrated by Buñuel,” while Alberto Moravia, then film critic for L’espresso, opined that “Germi leads the caricature and the paradox up to a point of tension, after which it is difficult for him to take the reins of the narrative again.” Forty years later, in front of this beautiful and cruel film, Germi scholar Mario Sesti turned this verdict upside down: “The structure is made perfect by an expressive athleticism, by a wrathful determination, in which the narrative is transformed in an unstoppable flow of which a whole society is the protagonist.”

– "Seduced and Abandoned: Honor and Family" by Irene Bignardi (Aug 29, 2006)

Extras included:

1. Commedia all’italiana : Germi Style – featuring new interviews with screenwriters Furio Scarpelli and Luciano Vincenzoni and Italian film scholar Mario Sesti
2. Interview with actor Lando Buzzanca
3. Interview with actor Stefania Sandrelli
4. Stefania Sandrelli screen test
5. Theatrical trailer
(All extras are with English subtitles)

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