Some kissing. A couple are in bed together sex is implied.
A woman is a prostitute and is shown with a client.
A man rapes a woman. A little thrusting may be visible. No nudity.
Some sexual references, especially to prostitution; some rather crude, but nothing too detailed

A rape scene; nothing is shown, but rape is heavily implied


Film review:Translated by www.rabudo-ru.com


The main point of the so-called Italian Neo realism lies not in what social problems it reflects, nor in the fact that it shows the recording nature of the camera and the specific “preferences” of amateur actors and street scenes, but in its treatment of the relationship between the core dramatic conflict and the environment. Taking the bicycle thief as an example, desica put this core conflict (the father must retrieve his bicycle on this day) in a segment of urban social life in Italy after the war. Looking for a bicycle is the main driving force of the narrative, but other events are not organized around looking for a bicycle, and the environment plays its own influence. The father and son were placed in the same stream of life, life (environment) came, and they encountered all kinds of random events. It is in this way that the film has become an art of “highlighting the risk of life” in the sense of Benjamin.

Visconti’s “Rocco and his brothers” has the shadow of the director’s early Neo realistic works (the earth is fluctuating and sinking), but it also shows the clue of those great epic melodramas (leopards) after him. The nearly three hour film revolves around the Rocco family – mother and five sons – moving from rural southern Italy to Milan. From the structural arrangement of the film divided into five segments according to the names of the five Rocco brothers and the duration of three hours, it can be seen that viscanti’s original intention really wanted to show the great impact of the environment (Milan’s urban life) on the character’s character and psychology, so as to show the great changes in post-war Italian social life. However, compared with the epic of farmers entering the city in the grapes of wrath, the social environment of Milan in Rocco is always in a vague state. The audience felt that viscanti seemed to unconsciously make the story develop “internally”, and the social tragedy became a psychological tragedy.

The central part of the story of Rocco is the emotional entanglement between Simon and Rocco (starring Alan Delon) and the dusty woman Nadia. Simon met Nadia when he won the boxing championship, and the latter soon became his girlfriend. Simon degenerated quickly, drinking, lusting, defiant, stealing, and Nadia soon left him. Two years later, Rocco accidentally met Nadia while serving in a military camp, and the two fell in love. Jealous Simon couldn’t accept the fact that his ex girlfriend combined with his brother and decided to take crazy revenge. One night, he rushed to the place where they were dating with a group of friends, raped Nadia in front of Rocco, and beat Rocco up. The latter almost didn’t fight back. Later, Rocco asked Nadia to return to Simon for brotherhood. Nadia was completely desperate and was finally killed by Simon after a verbal provocation.

Whether it is the opportunistic characteristics of the boxer profession, the temptation of Milan’s urban life (the characters in the film repeatedly poetic their hometown, as if the heterogeneous city is the root cause of their misfortune), or even Nadia’s abandonment, can not explain the root cause of Simon’s degeneration, but can only be said to be an external inducement. Simon in the film has a rough, uncivilized face, coupled with a cold and conceited expression, the audience can vaguely feel that the evil in his heart is surging. In him, there is the prototype of Cain, the first murderer of mankind. As a rational incomplete animal expelled from the garden of Eden, human beings are always in danger of falling into complete evil, and in the non Christian context of the film (viscanti is a communist), this evil has no hope of Redemption: whether it is his initial conceit or his final weakness and incompetence, The audience’s feeling for Simon is only uncontrollable nausea and disgust.

Compared with Simon, Rocco is the real tragic character. He is not a saint, but a man who puts the concept of brotherhood above all values. He gave up Nadia for brotherhood, shouldered huge debts for Simon, and even finally covered up Simon’s murder, The motives of all these sacrificial acts can be explained by what he said to his little brother Luca at the end of the film: “remember the Mason? When he began to build a house, he would throw a stone on the shadow of the first passer-by,” “in order to make a house strong, someone had to sacrifice.”. Rocco’s tragedy is Antigone’s tragedy, which is caused by the conflict caused by different principles of justice in one’s heart. But the tragedy of the whole film is more like Euripides than Sophocles. The tragedy of Rocco and his brothers has no sense of sublimity, but the psychological tragedy of a group of characters influenced by moral concepts and desires.

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