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This savage lynching underscores a dark sub-theme that until then has been largely camouflaged by the film's nostalgic glow.Īs much affection as the director holds for these combustible Sicilian peasants, he recognizes their potential for mob violence and their atavistic sexual code. The women surround and pounce on her, beating and scratching and hurling insults until she is hounded out of town. When the war ends, the revenge for Malena's having prostituted herself for the enemy is swift and vicious. Reduced to bartering her favors for food as shortages loom, Malena is virtually forced into prostitution to survive. After a local lawyer helps her clear her name from a jealous wife's lawsuit, he demands of her the only payment she can give. As various men pursue her, their jealous wives begin spreading the word that Malena is a floozy, a rumor that the men are only too eager to believe. No longer protected from male advances by her marital status, she becomes fair game. The story suddenly darkens with the news that Malena's husband has been killed. He also succeeds in pilfering one of her undergarments, which he sleeps with until his hysterical parents find out and rip it from his hands, screaming that he's a pervert.
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She is his dream lover whom he imagines as his impassioned co-star in several parody movie sequences.Īfter spying on Malena as she wistfully dances alone in her living room to a slinky 40's torch song, Renato runs out and buys the recording, which he plays obsessively night after night. To Renato, however, she is more than an object of lustful fantasy. Although Malena, who wasn't born in the town, is intensely aware of the adoration (as well of the wives' jealousy), she feigns an attitude of indifference and silently goes her own way. Malena is such an awesome natural phenomenon that wherever she goes, men turn to stare and make lewd remarks under their breath, and the camera follows suit, fetishizing her shoes, then trailing up her long legs and gaping open-mouthed at her heaving torso. Its 13-year-old narrator, Renato Amoroso (Giusppe Sulfaro), is one of the youngest in a pack of boys who spend much of their spare time trailing, ogling and swapping explicit fantasies about the magnificent Malena, whose husband is off in Africa fighting for Mussolini. ''Malena'' is set mostly in the early 1940's in Castelcuto, a Sicilian town that the movie portrays in ruddy earth tones as a crude pagan paradise by the sea. Not the least of its accomplishments is its elevation of Monica Belluci, the statuesque actress who plays the title character, Malena Scordia, to an earth-mother status just short of a Loren or a Cardinale. Washed in one of Ennio Morricone's riper scores, this palpitating adolescent reminiscence, adapted from a story by Luciano Vincenzoni, at first appears to be little more than a 13-year-old boy's randy ''O Sole Mio.''īut what begins as a blushing, priapic opera buffa about coming of age turns into a verismo shocker, before softening into something mellower. Like ''Cinema Paradiso,'' his World War II drama ''Malena'' is a vivid ''I remember'' movie. If his world view falls far short of Fellini's transcendent human carnival, his better films are similarly hot-blooded celebrations of flesh and fantasy infused with a zesty Roman Catholic sense of sin and redemption. Tornatore, who is still best known for the Oscar-winning ''Cinema Paradiso,'' is no Fellini. But in the nostalgic imagination of Giuseppe Tornatore it will always be the 1960's, when these deities who helped put Italian movies on the map cast their lusty spell. And the bloom may have faded from those gorgeous strutting goddesses of Italian cinema, Gina Lollobrigida, Sophia Loren and Claudia Cardinale.