Intérpretes: Giancarlo Giannini, Mariangela Melato
ITA, 1974, 116’, M/16
Durante umas férias no Mediterrâneo, Raffaella Lanzetti e o marido alugam um iate para fazer um cruzeiro. Raffaella, rica, mimada, snob e arrogante, grita ordens o tempo todo, assumindo atitudes prepotentes, e descarregando boa parte da sua agressividade em Gennarino Carunchio, um siciliano comunista que trabalha na embarcação,
Um dia, ao fim da tarde, ela manda Gennarino descer o bote para ir tomar banho no mar ao largo do iate. Acabam por ficar perdidos quando o motor se avaria e a corrente marítima os leva para longe.
Finalmente encontram terra, mas é apenas uma ilha desabitada e o pequeno bote esvazia. Isolados, Gennarino e Raffaella vão ver-se numa situação que nunca teriam imaginado…
Em 2002 Guy Ritchie fez um “remake” deste filme, com Madonna no papel de Raffaella, e Adriano Giannini (filho de Giancarlo) no papel do marinheiro. Foi um desastre tanto de crítica como comercialmente.
Swept Away’ Is a Wertmuller Film With Solid Appeal
By VINCENT CANBY
Published: September 18, 1975
Summer. A blue Mediterranean seascape seen through sunlit mist. In the distance a handsome white yawl moves with the light breeze. On the soundtrack we hear some jazzy instrumental music that recalls the score of every Italian film about the sweet life you’ve ever seen, but there’s a point to it in the film. It pollutes air that once was as pure as it looked.
As the camera nears the yacht, the music gives way to the bickering of the yacht’s well-heeled passengers. The mood that from a distance had seemed so serene turns suddenly, abrasively indolent—and furiously funny. People who have nothing to do, no visible responsibility to anything except tan skin, angrily debate capitalism, Communism, consumerism, the role of the Vatican in Italian life, while complaining about a crewman’s smelly T-shirt.
This is the beginning of Lina Wertmuller’s most entertaining new Italian comedy, “Swept Away (By an Unusual Destiny in the Blue Sea of August)” which opened yesterday at the Cinema II Theater.
“Swept Away” is Miss Wertmuller’s fourth film to be released in this country. It follows “The Lizards,” which was shown in New York several years ago as part of a Festival of Women’s Films, “Love and Anarchy” and “The Seduction of Mimi,” and it’s played by the two actors, Giancarlo Giannini and Mariangela Melato, who were so remarkable in the latter two films. It’s also by far the lightest, most successful fusion of Miss Wertmuller’s two favorite themes, sex and politics, which are here so thoroughly and so successfully tangled that they become a single subject, like two people in love.
The shape of the film is as artificial as a fairy tale or a cartoon strip. Raffaella (Miss Melato), the rich, beautiful, acid-tongued Milanese who has chartered the yacht, and Gennarino (Giannini), the swarthy Sicilian deckhand whose T-shirts offend her, are marooned for several weeks on the only Mediterranean island not yet occupied by German tourists. They are Popeye and Olive Oyl locked in passionate combat.
The way Gennarino folds his pants and shirt—quickly, neatly, according to careful training that has become habit, you know he is a man who believes all things have their place, including women, who belong in the house with the children. Raffaella is an intelligent, selfish, superficially liberated slob who has never picked up anything in her life if there was an outside chance someone else would pick it up for her.
He is a Communist with the dedication of a first-century Christian. She is a capitalist because, for her, the system has paid off. More important, he is a man and she is a woman, for which there is hell to pay on both sides.
“Swept Away” is the story of their tumultuous, slapstick courtship, his systematic humiliation of her (as she sees it) until, suddenly, she submits to her love for him and becomes in the process truly liberated. Feminists, I suspect, will debate a number of plot points as if Miss Wertmuller had set out to write a treatise and not to make a love story, some of whose meanings are not easily translated into feminist agitprop.
More easily apparent are the director-writer’s concerns about the Italian society that bred these two people and turned them into the mixed-up, wrong-headed characters they are, capable occasionally of unexpected, if imperfect nobility. Her sympathies appear to be more with Gennarino than Raffaella, but that’s a matter of politics, not sex, and he is, on the surface, a male chauvinist pig of a classic type.
“Swept Away” is less a film about ideas than about previous commitments, for which neither character can be held completely accountable. The enormous appeal of the comedy has to do with the way, briefly, each character, is able to overcome those commitments.
It also has to do with the performances of Mr. Giannini and Miss Melato, who tear into their roles with a single-minded intensity that manages to be both hugely comic and believable, even in the most outrageous of situations. They are the best things to happen to Italian comedy since Marcello Mastroianni and Sophia Loren squared off in the nineteen-sixties. (New York Times)